ÓÊÐÀ¯ÍÑÜÊÅ...

ÍÀÖ²ÎÍÀËÜÍÀ ÀÊÀÄÅÌ²ß ÍÀÓÊ ÓÊÐÀ¯ÍÈ²ÍÑÒÈÒÓÒ ÌÈÑÒÅÖÒÂÎÇÍÀÂÑÒÂÀ, ÔÎËÜÊËÎÐÈÑÒÈÊÈ ÒÀ ÅÒÍÎËÎÃ²¯

²Ì. Ì. Ò. ÐÈËÜÑÜÊÎÃÎ

ÓÊÐÀ¯ÍÑÜÊÅ ÌÈÑÒÅÖÒÂÎÇÍÀÂÑÒÂÎ:матеріали, дослідження, рецензії

Çá³ðíèê íàóêîâèõ ïðàöü

Âèïóñê 12

ÊÈ¯Â 2012

http://www.etnolog.org.ua

ÓÄÊ 7.03(477)"19/20"+7.011.28ÁÁÊ 87.8

Ó45

Ðåäàêö³éíà êîëåã³ÿ:

Ã. Ñêðèïíèê – ãîëîâ. ðåä., àêàä. ÍÀÍ Óêðà¿íè, ä-ð ³ñò. íàóê, ïðîô.Î. Øåâ÷óê – â³äï. ðåä., êàíä. ìèñòåöòâîçíàâ.

Ñ. Ãðèöà – ä-ð ìèñòåöòâîçíàâ., ïðîô., ÷ë.-êîð. ÍÀÌÓÐ. Çàáàøòà – ñòàðø. íàóê. ñï³âðîá. ²ÌÔÅ ³ì. Ì. Ò. Ðèëüñüêîãî ÍÀÍ Óêðà¿íèÌ. Çàãàéêåâè÷ – ä-ð ìèñòåöòâîçíàâ., ïðîô.Î. Íàéäåí – ä-ð ìèñòåöòâîçíàâ.Î. Íåìêîâè÷ – ä-ð ìèñòåöòâîçíàâ.À. Êàëåíè÷åíêî – êàíä. ìèñòåöòâîçíàâ.Ò. Êàðà-Âàñèëüºâà – ä-ð ìèñòåöòâîçíàâ., ÷ë.-êîð. ÍÀÌÓÍ. Êîðí³ºíêî – ä-ð ìèñòåöòâîçíàâ., àêàä. ÍÀÌÓË. Ïàðõîìåíêî – ä-ð ìèñòåöòâîçíàâ.Ð. Ïèëèï÷óê – êàíä. ìèñòåöòâîçíàâ., ïðîô., àêàä. ÍÀÌÓÂ. Ðóáàí – ä-ð ìèñòåöòâîçíàâ., ÷ë.-êîð. ÍÀÌÓÃ. Ñòåëüìàùóê – ä-ð ìèñòåöòâîçíàâ., ÷ë.-êîð. ÍÀÌÓÄ. Ñòåïîâèê – ä-ð ìèñòåöòâîçíàâ., ä-ð ô³ëîñ. íàóê, ä-ð áîãîñëîâ. íàóê, ïðîô.,

àêàä. ÀÍ Âèùî¿ øêîëè Óêðà¿íèÀ. Òåðåùåíêî – ä-ð ìèñòåöòâîçíàâ., ÷ë.-êîð. ÍÀÌÓÑ. Òðèìáà÷ – ñòàðø. íàóê. ñï³âðîá. ²ÌÔÅ ³ì. Ì. Ò. Ðèëüñüêîãî ÍÀÍ Óêðà¿íèÌ. Õàé – ä-ð ìèñòåöòâîçíàâ.². Þäê³í – ä-ð ìèñòåöòâîçíàâ., ÷ë.-êîð. ÍÀÌÓ

Ðåêîìåíäîâàíî äî äðóêó â÷åíîþ ðàäîþ ²íñòèòóòó ìèñòåöòâîçíàâñòâà, ôîëüêëîðèñòèêè òà åòíîëîã³¿ ³ì. Ì. Ò. Ðèëüñüêîãî ÍÀÍ Óêðà¿íè

Óêðà¿íñüêå ìèñòåöòâîçíàâñòâî : ìàòåð³àëè, äîñë³äæåííÿ, ðåöåíç³¿. Çá. íàóê. ïðàöü. Âèï. 12 / [ãîëîâ. ðåä. Ã. Ñêðèïíèê] ; ÍÀÍÓ, ²ÌÔÅ ³ì. Ì. Ò. Ðèëüñüêî-ãî. – Ê., 2012. – 218 ñ.

Ó çá³ðíèêó âì³ùåíî íàóêîâ³ ñòàòò³, ïðèñâÿ÷åí³ ìåòîäîëîã³÷íèì ³ ïðàêòè÷íèì ïðîáëåìàì ìèñòåöòâîçíàâñòâà çà ð³çíèìè íàïðÿìàìè (ìóçèêà, òåàòð, ê³íî, îáðàçîòâîð÷å é äåêîðàòèâ-íå ìèñòåöòâî, àðõ³òåêòóðà). Çîêðåìà, âèñâ³òëþþòüñÿ äåÿê³ ñó÷àñí³ òåîðåòè÷í³ ï³äõîäè â äî-ñë³äæåíí³ óêðà¿íñüêî¿ åêðàííî¿ êóëüòóðè, àêòóàë³çóþòüñÿ ïèòàííÿ ìóçè÷íîãî âèêîíàâñòâà ³ êîìïîçèòîðñüêî¿ òâîð÷îñò³, ïðîñòåæóºòüñÿ ôóíêö³îíóâàííÿ ìèñòåöüêèõ ñòèë³â ó â³ò÷èçíÿí³é îáðàçîòâîð÷³é òà àðõ³òåêòóðí³é ñïàäùèí³, ïðîïîíóþòüñÿ íàóêîâ³ ³íòåðïðåòàö³¿ õóäîæíüîãî äîðîáêó íàðîäíèõ ìàéñòð³â Óêðà¿íè.

ÁÁÊ 87.8

© ²ÌÔÅ ³ì. Ì. Ò. Ðèëüñüêîãî ÍÀÍ Óêðà¿íè, 2012

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ÄÅÊÎÐÀÒÈÂÍÅ ÌÈÑÒÅÖÒÂÎ ÓÊÐÀ¯ÍÈ ÕÕ – ÏÎ×ÀÒÊÓ ÕÕ² ÑÒÎË²ÒÒß


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Ç³íà¿äà Êîñèöüêà(Êè¿â)

ÍÀÐÎÄÍ²ÑÒÜ ² ÏÐÎÔÅÑ²ÎÍÀË²ÇÌ Ó ÒÂÎÐ×ÎÑÒ² ÌÀÉÑÒÐÈÍ² ÂÈÒÈÍÀÍÍß ÎËÜÃÈ ØÈÍÊÀÐÅÍÊÎ

Ñòàòòþ ïðèñâÿ÷åíî òâîð÷îñò³ ïðîôåñ³éíî¿ õóäîæíèö³ Îëüãè Øèíêàðåíêî, ÿêà ïðàöþº â òåõí³ö³ âèòèíàííÿ òà âèðèâàííÿ ç ïàïåðó. Ðîçêðèòî ôîðìóâàííÿ õóäîæíüîãî ñòèëþ ìàéñòðè-í³, à òàêîæ òåõíîëîã³÷í³ ïðèíöèïè ¿¿ òâîð÷îñò³.

Ключові слова: äåêîðàòèâíå ìèñòåöòâî, ïðîôåñ³éíå ìèñòåöòâî, âèòèíàíêè, òðàäèö³ÿ.

Ñòàòüÿ ïîñâÿùåíà òâîð÷åñòâó ïðîôåññèîíàëüíîé õóäîæíèöû Îëüãè Øèíêàðåíêî, êîòîðàÿ ðàáîòàåò â òåõíèêå âûòûíàíèÿ è âûðûâàíèÿ èç áóìàãè. Ðàñêðûòî ôîðìèðîâàíèå õóäîæåñòâåí-íîãî ñòèëÿ ìàñòåðà, à òàêæå òåõíîëîãè÷åñêèå ïðèíöèïû åå òâîð÷åñòâà.

Ключевые слова: äåêîðàòèâíîå èñêóññòâî, ïðîôåññèîíàëüíîå èñêóññòâî, âûøòûíàíêè, òðà-äèöèÿ.

The article is about work of professional female artist Olha Shynkarenko, who works in technique of cutting and tearing out of paper. It also analyses the ways of maturing of Olha Shynkarenko artistic style as well as manufacturing principles of her creative work.

Keywords: decorative art, professional art, vytynanka (paper cutting handiwork), tradition.

Îñòàíí³ì ÷àñîì íà òâîð÷³é àðåí³ ïðîôåñ³éíèõ ìàéñòð³â, âñåá³÷íî îñâ³÷åíèõ õóäîæ-íèê³â-ïðèêëàäíèê³â óñå ÷àñò³øå ç’ÿâëÿþòüñÿ îñîáèñòîñò³, ÿê³ ïðàöþþòü ³ç ïàïåðîì. Äî ö³º¿ ãðóïè íàëåæèòü ³ ìàéñòðèíÿ Îëüãà Øèíêàðåíêî, ÿêà íà îñíîâ³ óêðà¿íñüêîãî íàðîäíîãî äåêîðàòèâíî-âæèòêîâîãî ìèñòåöòâà ñôîðìóâàëà âëàñíå ðîçóì³ííÿ âèìîã ³ êðèòåð³¿â òâîð÷îñò³, ïîºäíàâøè â í³é íþàíñè, çîêðåìà, ïðîôåñ³éíîãî òà íàðîäíîãî ï³ä-õîä³â. Çâåðòàþ÷èñü äî âèòîê³â íàðîäíîãî ìèñòåöòâà, éîãî çíàêîâî-ñèìâîë³÷íî¿ ìîâè îðíàìåíòó é îáðàçîòâîðåííÿ, ðîçïî÷àâøè ç ìàëþâàííÿ òà ïðîäîâæèâøè òåõí³êîþ âèòèíàííÿ, ìàéñòðèíÿ ñòâîðèëà àâòîðñüêèé ñòèëü, ñóãîëîñíèé òðàäèö³ÿì óêðà¿íñüêî¿ íàðîäíî¿ âèòèíàíêè ³ ðàçîì ³ç òèì âèÿâèëà ñåáå ÿê âèðàçíèé ïðîôåñ³îíàë-ìèòåöü.

Íàðîäèëàñÿ Îëüãà Âîëîäèìèð³âíà íà Êóáàí³ (1952 ð.), â÷èëàñÿ â õóäîæí³é øêîë³ â ì. Êðàñíîäàð³, çãîäîì íàâ÷àííÿ ïðîäîâæèëà â Êè¿âñüêîìó õóäîæíüî-ïðîìèñëîâîìó òåõí³êóì³ 1, ÿêèé çàê³í÷èëà 1971 ðîêó. Â³äòîä³ é ðîçïî÷àëà ñâî¿ ïåðø³ òâîð÷³ ñïðîáè â òåõí³êàõ, ïîâ’ÿçàíèõ ñàìå ç ïàïåðîì, – ìàëþâàíí³ òà àïë³êàö³¿. ßê ñâ³ä÷èòü ñàìà ìàé-ñòðèíÿ, ¿¿ «çàâæäè âàáèëî óêðà¿íñüêå íàðîäíå ìèñòåöòâî. Ö³êàâèé êîëîðèò ³ ïðèõî-âàíà åíåðãåòèêà åòí³÷íî¿ òâîð÷îñò³, âèñîêèé ñòóï³íü îáðàç³â äåêîðàòèâíî-ïðèêëàäíî¿ ñòèë³ñòèêè». Àçè ïðîõîäèëà ç «ïåòðèê³âêîþ», çãîäîì ïî÷àëà ðîçðîáëÿòè âëàñíó ìàíå-ðó, íàáëèæåíó äî ìàëþâàííÿ Êè¿âùèíè. Ç äðóãî¿ ïîëîâèíè 1990-õ ðîê³â ìàéñòðèíÿ ïî÷èíàº ïðàöþâàòè ïàðàëåëüíî â òåõí³ö³ âèòèíàííÿ, â ÿê³é ¿¿ ïîëîíèâ «ëàêîí³çì âè-ñîêîãî ð³âíÿ óìîâíîñò³ â ñòèë³çàö³¿ òà íàñè÷åí³ñòü â³äêðèòèõ êîëüîð³â».

Ó 1994 ðîö³ Î. Øèíêàðåíêî ïðèéìàþòü äî Íàö³îíàëüíî¿ ñï³ëêè ìàéñòð³â íàðîäíî-ãî ìèñòåöòâà Óêðà¿íè 2. Ç 1997 ðîêó ñâîº âì³ííÿ âîíà ïåðåäàº âèõîâàíöÿì Êè¿âñüêîãî ïàëàöó ä³òåé òà þíàöòâà [2, c. 248] íà çàíÿòòÿõ ó ãóðòêó äåêîðàòèâíîãî ðîçïèñó òà âèòèíàíêè, à òàêîæ ó íåä³ëüí³é øêîë³ ïðè õðàì³ íà ÷åñòü Áîæî¿ Ìàòåð³ «Êàçàíñüêî¿» (Êè¿â, âóë. Òðîñòÿíåöüêà, 60 à). Ó÷àñíèêè ïåðøîãî êîëåêòèâó íåîäíîðàçîâî çàéìàëè íàéâèù³ ì³ñöÿ íà ì³æíàðîäíèõ ôåñòèâàëÿõ ó Ìàêåäîí³¿ 3, Àâñòð³¿, Áîëãàð³¿, Ðîñ³¿ 4, Á³ëîðóñ³ 5, Òóðå÷÷èíè 6, à òàêîæ ï³ä ÷àñ âñåóêðà¿íñüêèõ êîíêóðñ³â, çà ùî Î. Øèíêà-ðåíêî ÿê êåð³âíèê áóëà íàãîðîäæåíà áàãàòüìà ãðàìîòàìè 7 é äèïëîìàìè 8.

Âèõîâóþ÷è ïîñë³äîâíèê³â ó ëþáîâ³ äî íàðîäíîãî ìèñòåöòâà, Î. Øèíêàðåíêî àêòèâ-íî ïðàöþº é ñàìà [4, c. 22], áåðå ó÷àñòü ó âñåóêðà¿íñüêèõ ñâÿòàõ âèòèíàíêè â ì. Ìî-ãèëåâ³-Ïîä³ëüñüêîìó (2002; 2005) 9, à òàêîæ ó çàõîäàõ Íàö³îíàëüíî¿ ñï³ëêè ìàéñòð³â


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íàðîäíîãî ìèñòåöòâà Óêðà¿íè 10 òà ³íøèõ óñòàíîâ é îðãàí³çàö³é 11. Ó áåðåçí³ 2012 ðîêó â³äáóëàñÿ ¿¿ ïåðñîíàëüíà âèñòàâêà â Íàö³îíàëüíîìó ìóçå¿ óêðà¿íñüêîãî íàðîäíîãî äå-êîðàòèâíîãî ìèñòåöòâà, äå ñåðåä áàãàòüîõ òâîð³â áóëè ïðåäñòàâëåí³ «Â ñàäó ãóëÿëî ÿáëó÷êî ÷åðâîíå» (2011), «Ëåâ», «Ñîâà» ³ç ñåð³¿ «Ãîëîñ íà ñâ³òàíêó»(2012) òà ³í.

Äëÿ òâîð÷îñò³ Î. Øèíêàðåíêî õàðàêòåðíå ñâîºð³äíå ñòèë³çîâàíå òðàêòóâàííÿ òðà-äèö³éíèõ ìîòèâ³â, ôîðì, êîìïîçèö³é íàðîäíîãî ìèñòåöòâà. Çà ïðîñòî¿ òåõí³êè â³ä-ùèïóâàííÿ ¿¿ òâîðè ñïîâíåí³ ÷àð³âíî¿ áåçïîñåðåäíîñò³, òîíêîãî â³ä÷óòòÿ âëàñòèâîñòåé ìàòåð³àëó. Ñë³ä äîäàòè, ùî Î. Øèíêàðåíêî ïðåêðàñíî âîëîä³º òàêîæ ðèñóíêîì ³ ðî-áèòü çàâæäè åñê³çè äî ñâî¿õ ðîá³ò, ðîçðîáëÿº êîìïîçèö³¿ íà îñíîâ³ íàðîäíèõ ñõåì ³ îðíàìåíòèêè, óðàõîâóþ÷è, çîêðåìà, ñïåöèô³êó íàðîäíî¿ âèòèíàíêè («Ñóìóº æîðæèíà â ñàäó», 2010, «Ãåé, êîáçî ìîÿ, äðóæèíî ìîÿ», 2010).

Âèðàçíèì ïî÷åðêîì ìàéñòðèí³ â ìèñòåöòâ³ âèòèíàííÿ º ïîºäíàííÿ â îäíîìó òâîð³ êîíòðàñòíèõ êîëüîð³â, à òàêîæ áàðâèñòèõ ïëÿì ð³çíîãî íàñè÷åííÿ: «Ï³âíèêó-êîãóòè-êó…» (2005; ÷åðâîí³ é çåëåí³ òîíè), «×è ñêàæåòå ùåäðóâàòè, âëàñíèé ä³ì çâåñåëÿòè?» (2005; ñèí³ é ÷åðâîí³ òîíè). Ö³ ïðèéîìè ÿñêðàâî ïîñòàþòü íà òë³ ³ ¿¿ âëàñíèõ ìîíî-õðîìíèõ ðîá³ò («Ìàòåðèíñòâî», 2003; «Íàðîäí³ ìîòèâè», 2003; «Ô³ãóðè», 2003), à òàêîæ ñåðåä òâîð³â ³íøèõ âèòèíàíêàð³â, ÿê³ òÿæ³þòü äî ìîíîõðîìíèõ çîáðàæåíü. Ñàìå â ö³é ëþáîâ³ äî ïîë³õðîì³¿ ïðîÿâèëàñÿ ¿¿ íàéõàðàêòåðí³øà ðèñà â ïðîäîâæåíí³ òðàäèö³é óêðà¿íñüêîãî íàðîäíîãî ìèñòåöòâà çàãàëîì, ³ âèòèíàííÿ çîêðåìà. Ìàºìî çâåðíóòè òàêîæ óâàãó íà òå, ùî òðàäèö³¿ áàãàòîáàðâíîãî ïàïåðîâîãî äåêîðó (òåìàòè÷-í³ ïàííî é íàêëàäí³ áàãàòîøàðîâ³ «ñîíå÷êà» 12), ïî÷èíàþ÷è ç ê³íöÿ Õ²Õ – ïî÷àòêó ÕÕ ñò., áóëè õàðàêòåðíèìè äëÿ áàãàòüîõ îñåðåäê³â Óêðà¿íè íà òåðèòîð³¿ ñó÷àñíèõ Äí³ïðîïåòðîâñüêî¿, Çàïîð³çüêî¿, ×åðêàñüêî¿, Êè¿âñüêî¿, Â³ííèöüêî¿, Òåðíîï³ëüñüêî¿, ²âàíî-Ôðàíê³âñüêî¿ îáëàñòåé. ² öå äîäàº çíà÷óùîñò³ ò³é îáñòàâèí³, ùî ñàìå â ñîêîâè-ò³é áàãàòîáàðâíîñò³ Î. Øèíêàðåíêî â³äíàéøëà âëàñíèé ïî÷åðê ³ ïðèêìåòíó ìàíåðó âèêîíàííÿ.

Çàçíà÷èìî, ùî íå âñ³ ìàéñòðè, çàñòîñîâóþ÷è ïàï³ð ó âèòèíàíí³, â³ä÷óâàþòü ôàêòó-ðó ìàòåð³àëó. ×àñòî â ¿õí³õ ðîáîòàõ âèêîðèñòàí³ ëèøå éîãî êîëîðèñòè÷í³ îñîáëèâîñò³, ³ òàê³ òâîðè ïîä³áí³ äî êîëüîðîâî¿ ãðàô³êè. Òâîðè Î. Øèíêàðåíêî îñîáëèâî áëèçüê³ äî íàðîäíîãî ìèñòåöòâà, â ÿêîìó ìàéñòåð çàâæäè â³äøòîâõóºòüñÿ â³ä âëàñòèâîñòåé â³äïîâ³äíîãî ìàòåð³àëó. ¥ðóíòóþ÷èñü íà òðàäèö³ÿõ óêðà¿íñüêî¿ òðàäèö³éíî¿ âèòèíàí-êè, à òàêîæ äåêîðàòèâíîãî ðîçïèñó, óíèêàþ÷è ³ì³òàö³é, ìàéñòðèíÿ çóì³ëà âèÿâèòè ö³êàâ³ âëàñòèâîñò³ ð³çíèõ âèä³â ïàïåðó, âèêîðèñòàâøè íåð³âí³ñòü, æîðñòê³ñòü ÷è ëåã-ê³ñòü éîãî ð³çíèõ âèä³â.

Ïðîñòå çà òåõí³êîþ â³äùèïóâàííÿ ó êîìïîçèö³ÿõ Î. Øèíêàðåíêî îäðàçó íàáóâàº áàæàíî¿ âèðàçíîñò³. Ôîðìè åëåìåíò³â, ñòâîðåíèõ áåç äîäàòêîâèõ ³íñòðóìåíò³â, âè-ìàãàþòü îñîáëèâî âèøóêàíèõ ïðîïîðö³é ³ íàéäåë³êàòí³øîãî óçãîäæåííÿ êîìïîçèö³é-íèõ åëåìåíò³â, ùî ìàéñòðèíÿ âò³ëþº çàâäÿêè äîñêîíàëîìó âíóòð³øíüîìó êàìåðòîíó. Ïðèêëàäîì ìîæóòü ñëóãóâàòè ïàííî: «Îñ³íü òàêà ìèëà» (2005), «Ñêëÿíêà ìîëîêà» (2011) òà ³í.

Âàæëèâî ùî Î. Øèíêàðåíêî íå ºäèíà, õòî â³äíîâëþº âèêîðèñòàííÿ òåõí³êè â³ä-ùèïóâàííÿ é â³äíàõîäèòü äëÿ ¿¿ âèâèùåííÿ íîâ³ åôåêòè. Ïîä³áí³ ïðèéîìè øèðîêî çàñòîñîâóþòü ïðîôåñ³éí³ ìàéñòðè Þëÿ Äóíàºâà, ²ðèíà Ìàçóðîê-Ïîêèäàíåöü, Þð³é Êàôàðñüêèé òà ³íø³ õóäîæíèêè. Óñ³ âîíè âèêîðèñòîâóþòü ïàï³ð ð³çíèõ ôàêòóð ÿê îñíîâó, çà äîïîìîãîþ ÿêî¿ ìîæíà ïåðåäàòè ö³êàâ³ îáðàçè ó ïîºäíàíí³ ÿñêðàâèõ êî-ëüîð³â, âëàñòèâèõ ñàìå óêðà¿íñüêîìó íàðîäíîìó äåêîðàòèâíîìó ìèñòåöòâó. Ðàçîì ³ç òèì Î. Øèíêàðåíêî îñîáëèâî ñì³ëèâî ôîðìóº íîâó òåìàòèêó é ñþæåòè, ïåðåîñìèñ-ëþþ÷è íàðîäí³ òðàäèö³¿ òà ñòâîðþþ÷è ïàííî çíà÷íî á³ëüøèõ ðîçì³ð³â, í³æ öå áóëî õàðàêòåðíî äëÿ ïàïåðîâèõ îçäîá, ÿêèìè ïðèêðàøàëè ñ³ëüñüêèé ³íòåð’ºð â Óêðà¿í³ â Õ²Õ–ÕÕ ñò. («Â³÷íèé ðóõ», 2010; «Äîðîãà â ë³òî», 2010; «Á³ëà ÷àïëÿ» ³ç ñåð³¿ «Ãîëîñ íà ñâ³òàíêó», 2011).

Ïðè ïåðåãëÿä³ òâîð³â ìàéñòðèí³ ñêëàäàºòüñÿ âðàæåííÿ, ùî çðîáëåí³ âîíè îäíèì ïî-ðóõîì, ç ïîâíèì óçãîäæåííÿì âëàñòèâîñòåé ìàòåð³àëó é îñîáëèâîñòåé êîìïîçèö³éíèõ


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ñõåì óêðà¿íñüêèõ âèòèíàíîê («Äå êîçà õîäèòü, òàì æèòî ðîäèòü», 2006; «Ð³çäâÿí³ ùåäð³âêè», 2011). Íàñïðàâä³ æ òâîðåííþ êîæíî¿ ç íèõ Î. Øèíêàðåíêî ïðèä³ëÿº áàãàòî ÷àñó: â³ä îáðàííÿ òåìè, ôîðìóâàííÿ ¿¿ îáðàç³â, àæ äî ïðàêòè÷íîãî êîï³òêîãî êîìïîíóâàííÿ åñê³ç³â, ùî ñâ³ä÷èòü ïðî ¿¿ ïðîôåñ³éíèé ï³äõ³ä äî òâîð÷îñò³.

Íà íàøó äóìêó, íàéâèðàçí³øå íàðîäí³ñòü ³ ïðîôåñ³îíàë³çì ïîºäíàí³ ó òâîð÷îñò³ ìàéñòðèí³ â ðîáîòàõ «Íàòþðìîðò íà òðàâ³» (2010) ³ «Êâàäðàò, ùî áóâ ÷îðíèì» (2010). Íàâ³òü ó ñàìèõ íàçâàõ âîíà ô³êñóº ïîíÿòòÿ, õàðàêòåðí³ äëÿ ïðîôåñ³éíîãî ìèñòåöòâà – íàòþðìîðò ³ êâàäðàò. Îñòàíí³é ñòàâ óæå çâè÷íèì îïîñåðåäêîâàíèì îáðàçîì â³ä ÷àñ³â ñòâîðåííÿ õóäîæíèêîì Êàçèìèðîì Ìàëåâè÷åì òâîðó «×îðíèé êâàäðàò» (1915). ßê ñïðàâæíÿ íàðîäíà ìàéñòðèíÿ, Î. Øèíêàðåíêî êîìïîíóº íàòþðìîðò çà á³ëàòåðàëü-íîþ, ìàéæå äçåðêàëüíîþ ñõåìîþ òðàäèö³éíèõ âèòèíàíîê. Ñòèë³çîâàí³ ãàðáóçè, ãðóø³, âèíîãðàä, ñîíÿøíèê, ÷îðíîáðèâö³ íà ïàííî ìàêñèìàëüíî óçàãàëüíåí³, ùî çàâæäè áóëî õàðàêòåðíèì äëÿ íàðîäíèõ ìàéñòð³â. Êîëüîðè òàêîæ òðàäèö³éí³: ÷îðíî-÷åðâîíà ãàìà. Íåâåëèê³ øòðèõè æîâòîãî, îðàíæåâîãî é ñèíüîãî ëèøå â³äò³íþþòü îêðåì³ âàæëèâ³ åëåìåíòè.

Ó ðîáîò³ õóäîæíèö³ «Êâàäðàò, ùî áóâ ÷îðíèì» êâàäðàò ñëóãóº ëèøå òëîì, ïåðåä ÿêèì çðîñòàº áàðâèñòå ñòèë³çîâàíå äåðåâî æèòòÿ, ïîä³áíå äî ì³öíî¿ ïàðîñë³. Îñíîâà äåðåâà çàô³êñîâàíà ïîçà ìåæàìè êâàäðàòà, ì³æ íèì ³ ãëÿäà÷åì, îäíàê àâòîð çóì³ëà ïåðåäàòè â³ä÷óòòÿ, ùî ãàëóçêà ïðîíèçóº êâàäðàò íàñêð³çü, ïåðåêðèâàþ÷è éîãî ñâîºþ æèòòºñòâåðäæóâàëüíîþ ñèëîþ ³ êðàñîþ. Íåâåëèêèé íàõèë ãàëóçêè äàº ÷³òêèé íà-ñòð³é ñòðåìë³ííÿ äî ãîð³øíüîãî ³ ¿é ñàì³é, ³ òâîðîâ³ çàãàëîì. Ìîíóìåíòàëüí³ñòü îá-ðàç³â – ÷îðíîãî êâàäðàòà é äåðåâà – äîçâîëèëà ìàéñòðèí³ âèêîðèñòàòè âèðàçí³ äåòàë³. Çîêðåìà, ñèíüî-áëàêèòí³ ñèìâîëè-êâ³òè é ëèñòÿ ³íîä³ ðîñòóòü îäðàçó íà ïîä³áíîìó ñèíüî-áëàêèòíîìó ñòîâáóð³, à òàêîæ óçãîäæåí³ çà ôîðìîþ òà êîëüîðàìè âèøíåâî-ô³àëêîâ³ ïòàõè. Ë³âîðó÷ óãîð³ ïàííî – çîâñ³ì íåâåëèêèõ ðîçì³ð³â, îäíàê äîñòàòíüî ïîì³òíèé àíãåë ç òðóáîþ, ùî çâ³ùàº ðàä³ñíó íîâèíó. Âîõðèñòèé ñèëóåò íåáåñíîãî ïî-ñëàíöÿ çàâåðøóº âñþ êîìïîçèö³þ, ïåðåãóêóþ÷èñü ³ç ñóãîëîñíèìè, òàêîæ âîõðèñòèìè, âèøíåâèìè é ìàëèíîâèìè âêðàïëåííÿìè-ïåëþñòêàìè ñåðåä êâ³ò³â ³ çåëà. Íåçâàæàþ÷è íà äîñòàòíüî êîíòðàñòí³ êîëüîðè, ðîáîòà íå ìàº ñòðîêàòîãî âèãëÿäó, ùî ñâ³ä÷èòü ïðî âèâàæåí³ é âäàëî çàêîìïîíîâàí³ åëåìåíòè.

Íàâåäåíèé âèùå ìàòåð³àë îõîïëþº ëèøå ÷àñòèíó òâîð÷îñò³ Î. Øèíêàðåíêî. Ó ¿¿ äîðîáêó áëèçüêî 100 ðîá³ò ó òåõí³ö³ âèð³çóâàííÿ é â³äùèïóâàííÿ, áàãàòî òâîð³â, ñòâî-ðåíèõ ó òåõí³ö³ ìàëþâàííÿ. Íàéêðàù³ ïàííî ìàéñòðèí³ çáåð³ãàþòüñÿ ó ôîíäàõ ìóçå¿â Óêðà¿íè, çîêðåìà â Íàö³îíàëüíîìó ìóçå¿ óêðà¿íñüêîãî íàðîäíîãî äåêîðàòèâíîãî ìèñ-òåöòâà («Ñèâà çîçóëÿ óñ³ ñàäè îáë³òàëà», 2010), Çàïîð³çüêîìó … ìóçå¿ («Âåñ³íí³é ñîí çàêîõàíîãî ë³òà»). Äëÿ Íàö³îíàëüíîãî ³ñòîðèêî-êóëüòóðíîãî çàïîâ³äíèêà «×èãèðèí» Ì³í³ñòåðñòâîì êóëüòóðè ³ ìèñòåöòâ Óêðà¿íè áóëî çàêóïëåíî ïàííî «Çàïàõ áàãóëüíè-êà» (2010). Ó ïîäàëüøîìó, çà ñëîâàìè Î. Øèíêàðåíêî, âîíà ïëàíóº ðîçêðèòè äóõîâí³ ñïðÿìóâàííÿ ëþäèíè, â³äòàê ìàéñòðèíÿ øóêàº õóäîæí³ îáðàçè äëÿ çàñâ³ä÷åííÿ öüîãî áàãàòñòâà.

1 Íèí³ – Êè¿âñüêèé äåðæàâíèé ³íñòèòóò äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà ³ äèçàéíó ³ì. Ì. Áîé÷óêà.

2 Òîä³ – Ñï³ëêà ìàéñòð³â íàðîäíîãî ìèñòåöòâà.3 Ìàêåäîí³ÿ, ì. Á³òàëà, Êîíêóðñ äèòÿ÷îãî ìàëþíêà, 2006, 2008 ðð. (Ïî÷åñíà ãðàìîòà çà

ï³äãîòîâêó ó÷àñíèê³â).4 Ðîñ³ÿ, Ñàíêò-Ïåòåðáóðã, IV-é Ì³æíàðîäíèé êîíêóðñ äèòÿ÷îãî ìàëþíêà, 2007 ð. (Ïî÷åñíà

ãðàìîòà çà ï³äãîòîâêó é ó÷àñòü âèõîâàíö³â òà ïðîâåäåííÿ ìàéñòåð-êëàñó â áóäèíêó òâîð÷îñò³ «Ñîâðåìåííèê»).

5 Á³ëîðóñü, Ì³íñüê, ²²² Ì³æíàðîäíèé êîíêóðñ þíèõ õóäîæíèê³â, 2010 ð. (Ïîäÿêà çà ï³ä-ãîòîâêó ó÷àñíèê³â).


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6 Òóðå÷÷èíà, Ì³æíàðîäíèé êîíêóðñ äèòÿ÷îãî ìàëþíêà, 2010 ð. (Ïîäÿêà çà ï³äãîòîâêó ó÷àñíèê³â).

7 Çîêðåìà, Ãðàìîòà â³ä Óêðà¿íñüêî¿ Ïðàâîñëàâíî¿ Öåðêâè, 2011 ð, çà ï³äïèñîì ìèòðîïîëèòà Âîëîäèìèðà (Ñàáîäàíà); Ïî÷åñíà ãðàìîòà Ì³í³ñòåðñòâà îñâ³òè é íàóêè Óêðà¿íè, 2009; Ãðà-ìîòà Âñåóêðà¿íñüêîãî òîâàðèñòâà «Ïðîñâ³òà» ³ì. Ò. Øåâ÷åíêà, 2010 ð.; Ãðàìîòà Ì³í³ñòåðñòâà êóëüòóðè ³ òóðèçìó Óêðà¿íè, 2010 ð.; Ãðàìîòà Ãîëîâíîãî óïðàâë³ííÿ îñâ³òè é íàóêè âèêîíàâ-÷îãî îðãàíó Êè¿âñüêî¿ ì³ñüêî¿ ðàäè òà ³í.

8 Çîêðåìà: Äèïëîì Íàö³îíàëüíî¿ ñï³ëêè ìàéñòð³â íàðîäíî¿ òâîð÷îñò³ Óêðà¿íè, 2010 ð.; äèï ëîì âèñòàâêè ó ì. Ëüâîâ³ «Çîëîòèé ìîëüáåðò», 2010 ð.; äèïëîì Õàðê³âñüêîãî ì³æíàðîäíî-ãî á³ºíàëå «Â³ä 5 äî 10», 2007, 2009 ðð.

9 Ñâÿòà ïðîâîäèòü Â³ííèöüêèé öåíòð íàðîäíî¿ òâîð÷îñò³ (äèðåêòîð Ò. Öâ³ãóí) íà áàç³ Ìî-ãèë³â-Ïîä³ëüñüêîãî áóäèíêó íàðîäíî¿ òâîð÷îñò³ (äèðåêòîð Î. Ãîðîäèíñüêà).

10 Ïåðñîíàëüí³ âèñòàâêè: â Íàö³îíàëüíîìó ìóçå¿ óêðà¿íñüêîãî íàðîäíîãî äåêîðàòèâíîãî ìèñòåöòâà (2012), ó Íàö³îíàëüí³é ñï³ëö³ ìàéñòð³â íàðîäíî¿ òâîð÷îñò³ (2008, 2010). Ùîð³÷íà ó÷àñòü ó Âñåóêðà¿íñüêèõ âèñòàâêàõ Íàö³îíàëüíî¿ ñï³ëêè ìàéñòð³â íàðîäíî¿ òâîð÷îñò³ «Òâ³ð ðîêó», âèñòàâêàõ Äîìó õóäîæíèêà , Ëüâ³âñüêèõ âèñòàâêàõ «Îñ³íí³é çàìîê» (2009) òà ³í.

11 Çîêðåìà, â Óêðà¿íñüêîìó äîì³ (Êè¿â).12 «Ñîíå÷êà» – òèï ñêëàäíèõ âèòèíàíàíîê, ó ÿêèõ ð³çíîâåëèê³ ðîçåòè ëåæàòü îäíà íà îäí³é

â³ä íàéá³ëüøî¿ âíèçó äî íàéìåíøî¿ çâåðõó ³ ñêð³ïëåí³ ì³æ ñîáîþ íèòêîþ â öåíòð³ ÷è êëåºì (äèâ.: [1, c. 209; 3, c. 31]).

1. Êîñèöüêà Ç. Âèòèíàíêè / Ç. Êîñèöüêà // ²ñòîð³ÿ äåêîðàòèâíîãî ìèñòåöòâà Óêðà¿íè : ó 5 ò. / ²ÌÔÅ ÍÀÍÓ ; ãîë. ðåä. Ã. Ñêðèïíèê. – Ê., 2009. – Ò. 3 – Ñ. 207–214.

2. Êîñèöüêà Ç. Âèòèíàíêè / Ç. Êîñèöüêà // ²ñòîð³ÿ äåêîðàòèâíîãî ìèñòåöòâà Óêðà¿íè : ó 5 ò. / ²ÌÔÅ ÍÀÍÓ ; ãîë. ðåä. Ã. Ñêðèïíèê. – Ê., 2011. – Ò. 4. – Ñ. 235–254.

3. Ñòàíêåâè÷ Ì. Óêðà¿íñüê³ âèòèíàíêè / Ì. Ñòàíêåâè÷. – Ê., 1986. – 122 ñ. : ³ë. 4. Øèíêàðåíêî Ä. Ã³ìí ìàòåð³-çåìë³: [ïðî òâîð÷³ñòü Î. Øèíêàðåíêî] / Ä. Øèíêàðåíêî // Íà-

ðîäíå ìèñòåöòâî. – 2003. – ¹ 3–4. – Ñ. 21–22.

SUMMARYThe article deals with work of Olha Shynkarenko who creates using a technique of cut-

ting and tearing out of paper.Shynkarenko was born in 1952 on Kuban and finished art school in Krasnodar before

continuing her studies in Kyiv at the Kyiv art-industrial secondary school (where she graduated in 1971). Since then she has made her first artistic attempts using various tech-niques including drawing and appliqué. Since the mid- to late 1990s she has begun to work simultaneously in technique of paper cutting.

In 1994 she was admitted to the Ukrainian National Union of Folk Art Masters. Since 1997 and up to now she has worked as a teacher at the Kyiv Palace of Culture for Children and Youth. She runs a circle of ornamental painting and paper cutting. She also teaches children at a Sunday school in Kyiv (at the Church of the Kazan Icon of the Mother of God). Her pupils have taken the highest places in international competitions in Mace-donia, Austria, Bulgaria, Russia, Belarus, and Turkey as well as during the Ukrainian competitions. As an instructor O. Shynkarenko has also been awarded many diplomas and prizes.

O. Shynkarenko constantly goes on with her own work; for instance, in 2002 and 2005, she attended the annual Ukrainian festival of paper cutting handiwork in Mohyliv-Podilsk, as well as various events and activities organized by the Ukrainian National Union of Folk Art Masters. Her own exhibition was opened in the building of the National Folk Decorative Art Museum in March 2012.

A typical heavy stylization of folk art motifs is typical of the Shynkarenko’s work. She is able to handle a pencil and always makes a lot of sketches for her works; develop the compositions that are based on folk art patterns and ornamental designs. A distinct style of the female artist’s craft of paper cutting is combination of the contrasting colours in


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the same composition. She also skillfully reveals the interesting features of different types of paper and takes advantage of their stiffness and flexibility (cardboards and ordinary paper). In the O. Shynkarenko compositions, the common symbols acquire expressiveness; forms of their elements have elegant and graceful proportions.

It is important to notice that O. Shynkarenko is not the only artist who resumes the usage of the technique of tearing out of paper. The analogous methods are practiced on a wide scale by such professionals as Yulia Dunayeva, Iryna Mazurok-Pokydanets, Yurii Kafarskyi and others. But it is only Shynkarenko who uses this technique in a pioneering way, introducing new themes and plots especially mettlesome.

Shynkarenko spares a long time to creating every piece of art. At first she matures an idea, developing later the forms and themes, and finally elaborates a number of sketches to crystallize her thoughts – all this is indicative of a professional method of approaching to creative art. The folk origins and professionalism are combined the most effective in the female artist’s works Still Life on the Grass (2010) and Square which was Black (2010). The names themselves of these works (still life and square) fix the ideas which appertain to professional art. On the picture Still Life on the Grass, the stylized elements – pumpkins, pears, grapes, sunflowers, and marigold – are generalized at most, so being very abstract what is forever typical for folk artists. In Square which was Black, the artist used a black square only as a background, against which grows a multicolored tree of life, bearing re-semblance to a twig. The authoress succeeded in conveying the sense of twig’s triumph over black square with its beauty. In this work, she made use of the contrasting colours, such as black, light blue, cherry, yellow, and ochrous, nevertheless there is no feeling of motley and disjunction in it. Therefore it is indicative of felicitous harmony of this work.

The above-mentioned examples are only a small part of the Shynkarenko’s work. Her creation embraces more than hundred pieces made in technique of cutting and tearing out of paper. She has also done a lot of drawings. The best of her pictures can be found in the collections of various Ukrainian museums, in particular, the National Folk Decorative Art Museum, the National Historic and Cultural Reserve Chyhyryn. Today Shynkarenko is going to reveal the human aspirations in her coming works and so she is searching the new ideas for her groundbreaking work.

Keywords: decorative art, professional art, vytynanka (paper cutting handiwork), tradition.

Â³òàë³é Ãîðîäåöüêèé(Івано-Франківськ)

ÒÐÀÄÈÖ²ÉÍÀ ÎÁÐÎÁÊÀ ÌÅÒÀËÓ ÍÀ ÃÓÖÓËÜÙÈÍ² Â ÑÈÑÒÅÌ² ÂÈÙÎ¯ ÕÓÄÎÆÍÜÎ¯ ÎÑÂ²ÒÈ

Ó ñòàòò³ éäåòüñÿ ïðî òðàäèö³éíó îáðîáêó ìåòàëó íà Ãóöóëüùèí³, ùî âèñòóïàº äæåðåëîì ôîðìóâàííÿ õóäîæíüî¿ êóëüòóðè ñòóäåíò³â, ðîçøèðþþ÷è õóäîæí³é êðóãîç³ð îñîáèñòîñò³, àê-òèâ³çóº õóäîæíüî-äåêîðàòèâíó ä³ÿëüí³ñòü, âèêëèêàº ³íòåðåñ ³ ïîâàãó äî íàðîäíèõ òðàäèö³é. Àâòîð ïðîïîíóº íàâ÷àëüíî-ìåòîäè÷íèé âàð³àíò çàñâîºííÿ ñòóäåíòàìè òåõíîëîã³÷íèõ ïðèéîì³â òðàäèö³éíî¿ îáðîáêè ìåòàëó íà Ãóöóëüùèí³, âèêîðèñòàííÿ ¿õ ó ïîäàëüøîìó îâîëîä³íí³ ðåìåñ-ëîì, äåêîðàòèâíî-ïðèêëàäíèì òà ïðîìèñëîâèì ìèñòåöòâîì, à òàêîæ äî çáåðåæåííÿ íàðîäíèõ òðàäèö³é.

Ключові слова: õóäîæíÿ êóëüòóðà, òðàäèö³éíà îáðîáêà, íàðîäíå ìèñòåöòâî, ìîñÿæíèöòâî, êîâàëüñòâî.

Â ñòàòüå ãîâîðèòñÿ î òðàäèöèîííîé îáðàáîòêå ìåòàëëà íà Ãóöóëüùèíå, êîòîðàÿ âûñòóïàåò â êà÷åñòâå èñòî÷íèêà ôîðìèðîâàíèÿ õóäîæåñòâåííîé êóëüòóðû ñòóäåíòîâ, ðàñøèðÿÿ õóäîæå-


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ñòâåííûé êðóãîçîð ëè÷íîñòè, àêòèâèçèðóåò õóäîæåñòâåííî-äåêîðàòèâíóþ äåÿòåëüíîñòü, âû-çûâàåò èíòåðåñ è óâàæåíèå ê íàðîäíûì òðàäèöèÿì. Àâòîð ïðåäëàãàåò ó÷åáíî-ìåòîäè÷åñêèé âàðèàíò óñâîåíèÿ ñòóäåíòàìè òåõíîëîãè÷åñêèõ ïðèåìîâ òðàäèöèîííîé îáðàáîòêè ìåòàëëà íà Ãóöóëüùèíå, èñïîëüçîâàíèå èõ â ïîñëåäóþùåì îâëàäåíèè ðåìåñëîì, äåêîðàòèâíî-ïðèêëàä-íûì è ïðîìûøëåííûì èñêóññòâîì, à òàêæå ê ñîõðàíåíèþ íàðîäíûõ òðàäèöèé.

Ключевые слова: õóäîæåñòâåííàÿ êóëüòóðà, òðàäèöèîííàÿ îáðàáîòêà, íàðîäíîå èñêóññòâî, ìîñÿæíèöòâî, êóçíå÷åñòâî.

Traditional metal working on Hutsulshchyna is a source of forming of students’ artistic culture, expanding a personality’s artistic horizons. It stirs up artistic and decorative activities, attracts interest to and commands respect for folk traditions. The author gives learning aids and workbooks as a means of mastering of folk techniques of Hutsulshchyna traditional metal working for stu-dents, use of them in subsequent acquirement of craft, decorative and applied and industrial arts, as well as preservation of folk traditions.

Keywords: artistic culture, traditional working, folk art, brass working, farriery.

Íàðîäíå ìèñòåöòâî º âàæëèâèì äæåðåëîì âèõîâàííÿ îñîáèñòîñò³, ðîçâèòêó ¿¿ ìî-ðàëüíîñò³, åñòåòè÷íî¿ ³ õóäîæíüî¿ êóëüòóðè. Ó ñó÷àñíèõ óìîâàõ, êîëè ñòàëàñÿ ïåâíà âòðàòà äóõîâíîñò³, íàëåæèòü â³äðîäèòè òðàäèö³éí³ ö³ííîñò³, íà ÿêèõ ´ðóíòóºòüñÿ íà-ö³îíàëüíà ñàìîñâ³äîì³ñòü íàðîäó.

Íèí³ çðîñòàþòü âèìîãè äî õóäîæíèêà-äèçàéíåðà, ð³âíÿ éîãî õóäîæíüî¿ êóëüòó-ðè, óì³ííÿ âèêîðèñòîâóâàòè ó ñòâîðåíí³ òâîð÷èõ ðîá³ò òðàäèö³¿, çâè÷à¿, íàðîäíå ìèñòåöòâî.

Áåçóìîâíî, ó ìèñòåöòâ³ êîæíîãî íàðîäó º ñâî¿ ì³ñöåâ³ òðàäèö³¿, ñâ³é ñàìîáóòí³é îðíàìåíò, ùî ñòàíîâëÿòü âàæëèâèé ³ ñâîºð³äíèé ïëàñò õóäîæíüî¿ ïàì’ÿò³ íàðîäó òà éîãî ñèìâîë³êî-ãðàô³÷íó ìîâó. Àíàë³ç ôîðì ³ îðíàìåíòàëüíèõ ìîòèâ³â ÷èñëåííèõ õóäîæí³õ ìåòàëåâèõ âèðîá³â ãóöóë³â ñâ³ä÷èòü ïðî âèñîêèé ìèñòåöüêèé ð³âåíü ¿õ âè-êîíàííÿ. Íàðîäí³ ìàéñòðè çàñòîñîâóâàëè îðíàìåíòàëüí³ ìîòèâè â äåêîðóâàíí³ îäÿãó, þâåë³ðíèõ âèðîáàõ, îçäîáëåíí³ óïðÿæ³ êîíåé, çáðî¿, ó äåêîð³ åëåìåíò³â õàòè òà ³íøèõ îá’ºêò³â ìàòåð³àëüíî¿ êóëüòóðè, ùî ò³ñíî ïîâ’ÿçàí³ ç òðàäèö³ÿìè ³ çâè÷àÿìè íàðîäó.

Íà ïî÷àòêó Õ²Õ ñò. Ãóöóëüùèíà ñòàëà îá’ºêòîì äîñë³äæåíü óêðà¿íñüêèõ òà çàðó-á³æíèõ åòíîãðàô³â, ³ñòîðèê³â, ìàíäð³âíèê³â, ÿê³ ó ñâî¿õ ïðàöÿõ äàâàëè õàðàêòåðèñòè-êó ãåîãðàô³÷íèõ òà êë³ìàòè÷íèõ óìîâ, ëîêàëüíèõ îñåðåäê³â íàðîäíèõ ðåìåñåë. Ïåðø³ çãàäêè ïðî âèðîáè ãóöóë³â ç êîëüîðîâèõ ìåòàë³â ì³ñòÿòüñÿ ó ïðàöÿõ ß. Ãîëîâàöüêîãî (1877), Î. Êîëüáåðãà (1882), Õâ. Âîâêà (1916).

Îñîáëèâîñò³ âèãîòîâëåííÿ ìåòàëåâèõ ïðåäìåò³â ç êîëüîðîâèõ ìåòàë³â íà Ãóöóëü-ùèí³ îïèñàíî ó äîñë³äæåííÿõ Ä. Ãîáåðìàíà (1980) [3], Ì. Ãðåïèíÿêà (1998) [5]. Åò-íîãðàô Ðàéìóíä Êàéíäëü ó ìîíîãðàô³¿ «Ãóöóëè: ¿õ æèòòÿ, çâè÷à¿ òà íàðîäí³ ïåðåêà-çè» (2001) âèñâ³òëèâ îñîáëèâîñò³ äóõîâíî¿ òà ìàòåð³àëüíî¿ êóëüòóðè, çâè÷à¿ ³ òðàäèö³¿, ñâ³òîãëÿäí³ óÿâëåííÿ ãóöóë³â [7].

Ìîñÿæíèöòâî – õóäîæíÿ îáðîáêà êîëüîðîâèõ ìåòàë³â – íàéá³ëüøîãî ðîçâèòêó íà-áóëî íà Ãóöóëüùèí³. Éîãî â³äíîñÿòü äî îäíèõ ³ç íàéïîøèðåí³øèõ íàðîäíèõ õóäîæí³õ ïðîìèñë³â. Ó áàãàòüîõ ñåëàõ Ãóöóëüùèíè â ïåðø³é ïîëîâèí³ XX ñò. íàðàõîâóâàëîñÿ ïî ê³ëüêà äåñÿòê³â íàðîäíèõ ìàéñòð³â – êóñòàð³â-ìîñÿæíèê³â. Òàê, íàïðèêëàä, ð³ä Äóä÷àê³â ç ñ. Áðóñòîðîâà, ð³ä Ìåäâ³ä÷óê³â ç ñ. Ð³÷êè, ð³ä Ôåäþê³â ç ñ. Äèõòèíöÿ áóëè òâîðöÿìè ³ íîñ³ÿìè êóëüòóðè òà íàðîäíèõ òðàäèö³é ó âèãîòîâëåíí³ õóäîæí³õ âè-ðîá³â ç êîëüîðîâèõ ìåòàë³â [14, ñ. 19].

Îñíîâíèìè öåíòðàìè ìåòàë³ðñòâà íà Ãóöóëüùèí³ ó äðóã³é ïîëîâèí³ XIX ³ ïåðø³é ÷âåðò³ XX ñò. áóëè ñåëà Êîñ³âñüêîãî, Æàá’ºâñüêîãî, Êóòñüêîãî, Ïóòèëüñüêîãî, Ðàõ³â-ñüêîãî ïîâ³ò³â [14, ñ. 29]. ×åðåç ñóñï³ëüíî-åêîíîì³÷í³ ïðè÷èíè ç 1940 ðîêó ìîñÿæíè-öòâî ïî÷àëî çàíåïàäàòè. Ï³ñëÿ Äðóãî¿ ñâ³òîâî¿ â³éíè ç 1949 ðîêó âîíî â³äíîâèëîñÿ ³ òðàäèö³éí³ òåõíîëîã³÷í³ ïðèéîìè âèêîíàííÿ ìåòàëåâèõ âèðîá³â çíîâó ïî÷àëè çàñòîñî-âóâàòèñÿ íàðîäíèìè ìàéñòðàìè.


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Òà ñàìà ñèòóàö³ÿ ïîâíîþ ì³ðîþ ñòîñóºòüñÿ é êîâàëüñòâà íà Ãóöóëüùèí³. ²ç ë³òåðà-òóðíèõ äæåðåë íàì â³äîìî, ùî â XV ñò. ó Êîëîìè¿ ³ñíóâàâ êîâàëüñüêèé ³ ñëþñàðñüêèé öåõè. Ñòàíîì íà 1929 ð³ê íà Ãóöóëüùèí³ áóëà âåëèêà ê³ëüê³ñòü ðåì³ñíèê³â, çîêðåìà – 125 êîâàë³â, 23 áëÿõàð³, 17 ñëþñàð³â òà ³í. [10, ñ. 321]. Íà Çàõ³äí³é Ãóöóëüùèí³ ó 1926–1927 ðîêàõ áóëî 28 ïàòåíòîâàíèõ êîâàë³â [10, ñ. 352].

Àëå íåçâàæàþ÷è íà áóðõëèâèé ðîçâèòîê õóäîæíüîãî êîâàëüñòâà, ùî â³äáóâàºòüñÿ îñòàíí³ì ÷àñîì, òðàäèö³éíà îáðîáêà ìåòàëó íà Ãóöóëüùèí³ (êîâàëüñòâî ³ ìîñÿæíè-öòâî) ïðàêòè÷íî çíèêëà.

Àíàë³çóþ÷è ñó÷àñíèé ñòàí òðàäèö³éíî¿ îáðîáêè ìåòàëó íà Ãóöóëüùèí³, ìîæíà âè-ä³ëèòè òàê³ îñíîâí³ ïðîáëåìè:

– çàíåïàä ìèñòåöüêèõ îñåðåäê³â;– çðóéíîâàíà ìàòåð³àëüíî-òåõí³÷íà áàçà ï³äïðèºìñòâ íàðîäíèõ õóäîæí³õ ïðîìèñë³â; – ïðèçóïèíåíà àêòèâíà ï³äãîòîâêà ìîëîäî¿ çì³íè ôàõ³âö³â, çíèêëè øêîëè

ìàéñòåðíîñò³; – âòðà÷åí³ òðàäèö³éí³ ðèíêè çáóòó ãîòîâî¿ ïðîäóêö³¿. Ïðîäóêóþòüñÿ âèðîáè íèçü-

êîïðîáí³ ³ äàëåê³ â³ä íàðîäíî¿ òðàäèö³¿, ÿê³ âèò³ñíÿþòü ³ç ðèíêó àâòåíòè÷íèõ íîñ³¿â åòíîìèñòåöüêî¿ òðàäèö³¿;

– çàì³íà ðó÷íî¿ ïðàö³ íà ìåõàí³çîâàíèé ñïîñ³á âèðîáíèöòâà ³ç çàñòîñóâàííÿì íî-â³òí³õ òåõíîëîã³é, ñó÷àñíîãî îáëàäíàííÿ òà ïðèñòðî¿â.

Ñåðåä îñíîâíèõ øëÿõ³â ³ çàñîá³â ðîçâ’ÿçàííÿ öèõ ïðîáëåì – òàê³: – âèâ÷åííÿ òâîð÷îãî äîðîáêó íàðîäíèõ ìàéñòð³â ó âèøàõ, çîêðåìà íà ôàêóëüòåòàõ,

êàôåäðàõ õóäîæíüîãî ñïðÿìóâàííÿ;– çàñâîºííÿ íèçêè çàâäàíü ç òåõíîëîã³¿ âèãîòîâëåííÿ âèðîá³â ó òðàäèö³éíèõ òåõí³-

êàõ, ùî ðîçøèðþþòü ïðîôåñ³éíå ìèñëåííÿ ñòóäåíò³â;– âèâ÷åííÿ íàðîäíî¿ îðíàìåíòèêè, ñèìâîë³êè, ÿê³ º îñíîâîþ ñàìîâèÿâó ñòóäåíòà

ïðè ñòâîðåíí³ íèì õóäîæíüîãî âèðîáó.Ïðîáëåìó ðîçâèòêó õóäîæíüî¿ îáðîáêè ìåòàëó òà ï³äãîòîâêè ôàõ³âö³â íà îñíî-

â³ çáåðåæåííÿ íàðîäíèõ òðàäèö³é äîñë³äæóâàëè Ðîñòèñëàâ Øìàãàëî, äîêòîð ìèñ-òåöòâîçíàâñòâà, ïðîôåñîð ËÍÀÌ («Ìèñòåöüêà øêîëà â ñèñòåì³ íàö³îíàëüíî¿ îñâ³òè Óêðà¿íè»); Íàòàëÿ Á³ëîâîë, âèêëàäà÷ ³ñòîð³¿ ³ òåîð³¿ äèçàéíó Äîíåöüêîãî ãóìàí³-òàðíîãî ³íñòèòóòó («Ðîçâèòîê êîâàëüñüêî¿ îñâ³òè íà Äîíå÷÷èí³ (2006)») [8]; Áîãäàí Ïîïîâ, çàñíîâíèê øêîëè òðàäèö³éíîãî êîâàëüñòâà ïðè ìóçå¿ íàðîäíî¿ àðõ³òåêòóðè ³ ïîáóòó Óêðà¿íè â ì. Êèºâ³ («Øêîëà òðàäèö³éíîãî êîâàëüñòâà») [8]; Þð³é Þñèï÷óê, äîöåíò êàôåäðè äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà Ïðèêàðïàòñüêîãî íàö³îíàëüíîãî óí³âåðñèòåòó ³ì. Â. Ñ. Ñòåôàíèêà («Øêîëà Âàñèëÿ Äåâäþêà ³ ôîðìóâàííÿ ëîêàëü-íèõ òðàäèö³é íîâ³òíüîãî ãóöóëüñüêîãî äåðåâîîáðîáíèöòâà òà ìåòàë³ðñòâà ê³íöÿ Õ²Õ – ÕÕ ñò.») [16]; Îñòàï Ëó÷èíñüêèé, çàâ³äóâà÷ êàôåäðè õóäîæíüîãî ìåòàëó Ëüâ³âñüêîãî äåðæàâíîãî êîëåäæó äåêîðàòèâíîãî ³ óæèòêîâîãî ìèñòåöòâà ³ì. ². ². Òðóøà («Êîìïî-çèö³ÿ ÿê ïðîô³ëüíà äèñöèïë³íà») [8] òà ³í. ßê ñâ³ä÷àòü ïóáë³êàö³¿, äîñë³äæåííÿ é çàñâîºííÿ òðàäèö³éíî¿ îáðîáêè ìåòàëó çàëèøàþòüñÿ íà ÷àñ³, îñê³ëüêè é íà ñüîãîä-í³øí³é äåíü ³ñíóº ïðîáëåìà çáåðåæåííÿ ðåìåñåë, çîêðåìà ìîñÿæíèöòâà òà êîâàëüñòâà Ãóöóëüùèíè.

Ðîçâ’ÿçàííÿì ö³º¿ ïðîáëåìè ìîæå ñòàòè âïðîâàäæåííÿ â ïðîãðàìó íàâ÷àëüíî¿ äèñ-öèïë³íè «õóäîæíÿ îáðîáêà ìåòàëó» ó ÂÍÇ Óêðà¿íè, çîêðåìà íà êàôåäðàõ äåêîðà-òèâíî-ïðèêëàäíîãî ìèñòåöòâà, âèâ÷åííÿ ìåòàë³ðñòâà Ãóöóëüùèíè ç ïîäàëüøèì çà-ñòîñóâàííÿì òðàäèö³éíèõ òåõí³ê îáðîáêè ìåòàëó â ñó÷àñíèõ òâîðàõ. Öå ñïðèÿòèìå ðîçâèòêó ó ñòóäåíò³â òâîð÷î¿ óÿâè é ìèñëåííÿ. Âàæëèâî ïîêàçàòè ñòóäåíòàì çíà-÷óù³ñòü ðîçâèòêó òðàäèö³éíî¿ îáðîáêè ìåòàëó Ãóöóëüùèíè, îðãàí³÷íîãî ïîºäíàííÿ íàðîäíî¿ ìåòàëîîáðîáêè ³ç ñó÷àñíèìè òåõíîëîã³ÿìè â òåïåð³øí³õ óìîâàõ ìåõàí³çàö³¿, ñòâîðåííÿ «ñâî¿õ» êîìïîçèö³é òà âò³ëåííÿ ¿õ ó ñó÷àñíèõ òâîðàõ.

Çîêðåìà, äëÿ ñó÷àñíîãî ñòóäåíòà, ÿêèé âèâ÷àº õóäîæíþ îáðîáêó ìåòàëó, ïîøóê ³ âèá³ð êîìïîçèö³éíîãî âèð³øåííÿ òåìè ïîâèíí³ ñïèðàòèñÿ íà ³ñíóþ÷³ ïðèíöèïè âèçíà-÷åííÿ ñòèëüîâîãî ð³øåííÿ ³ çðàçêè íàðîäíîãî ìèñòåöòâà.


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Âîäíî÷àñ êîï³þâàííÿ âæå âèêîíàíèõ, ÿê³ñíèõ ðîá³ò íàðîäíèõ ìàéñòð³â íå ñïðèÿº ïðîôåñ³éíîìó ñòàíîâëåííþ ñòóäåíòà ÿê õóäîæíèêà íà çàâåðøàëüíèõ åòàïàõ íàâ÷àí-íÿ, àëå º àáñîëþòíî íåîáõ³äíèì ó ïåð³îä âèâ÷åííÿ òðàäèö³éíèõ ïðèéîì³â ³ òåõí³ê õóäîæíüîãî ìåòàëó.

Ïðîïîíóºìî îð³ºíòîâíó íàâ÷àëüíó ïðîãðàìó ç äèñöèïë³íè «õóäîæíÿ îáðîáêà ìåòà-ëó», ÿêà âèâ÷àºòüñÿ íà êàôåäð³ äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà ²íñòèòóòó ìèñ-òåöòâ Ïðèêàðïàòñüêîãî íàö³îíàëüíîãî óí³âåðñèòåòó ³ì. Â. Ñ. Ñòåôàíèêà. Íà ïðèêëàä³ ö³º¿ ïðîãðàìè ïîäàºìî îñíîâíó ³äåþ ðîçâèòêó òà çáåðåæåííÿ òðàäèö³éíî¿ îáðîáêè ìåòàëó Ãóöóëüùèíè â ñó÷àñíîìó ìèñòåöòâ³. Âåëèêà óâàãà ïðèä³ëÿºòüñÿ âèñâ³òëåííþ íàðîäíîãî êîâàëüñòâà òà ìîñÿæíèöòâà.

Îòæå, íàâ÷àëüíà äèñöèïë³íà-ñïåö³àë³çàö³ÿ «õóäîæíÿ îáðîáêà ìåòàëó», 2 êóðñ 4 ñåìåñòð.

Çàâäàííÿ ¹ 1. Âèãîòîâëåííÿ ëóñêîð³õà â òåõí³ö³ â³ëüíîãî ðó÷íîãî êóâàííÿ íà îñíîâ³ çðàçêà ðîáîòè â³äîìîãî íàðîäíîãî ìàéñòðà Â. Ã. Äåâäþêà, ñ. Ñòàðèé Êîñ³â, Êîñ³âñüêîãî ð-íó, ÿêèé ó 90-õ ðîêàõ ÕÕ ñò. ïðàöþâàâ ó ãàëóç³ õóäîæíüî¿ îáðîáêè êîëüîðîâèõ ìåòàë³â ³ ìåòàëåâî¿ îðíàìåíòèêè.

Ëåêö³éíèõ – 4 ãîäèíè, ïðàêòè÷íèõ – 28 ãîäèí, ñàìîñò³éíèõ – 18 ãîäèí. Ïåðåë³ê ïèòàíü, ùî âèâ÷àþòüñÿ íà ëåêö³ÿõ:Ëåêö³ÿ ¹ 1 (2 ãîä.). Õóäîæí³ îñîáëèâîñò³ ìîñÿæíèõ âèðîá³â.Ëåêö³ÿ ¹ 2 (2 ãîä.) Äåêîðóâàëüí³ òà îðíàìåíòóâàëüí³ òåõíîëîã³¿ â ìîñÿæíèöòâ³.Ïåðåë³ê ïèòàíü, ùî âèâ÷àþòüñÿ íà ïðàêòè÷íèõ çàíÿòòÿõ:Çàâäàííÿ ¹ 1 (4 ãîä.). Âèâ÷åííÿ îñíîâíèõ ïðèéîì³â òðàäèö³éíîãî êîâàëüñòâà (âè-

òÿãóâàííÿ, ðóáàííÿ, çãèíàííÿ, ïðîøèâàííÿ, âèãëàäæóâàííÿ).Çàâäàííÿ ¹ 2 (4 ãîä.). Çáèðàííÿ ìàòåð³àëó. Çàìàëüîâêè ðîá³ò íàðîäíèõ ìàéñòð³â.Çàâäàííÿ ¹ 3 (4 ãîä.). Ðîçðîáêà åñê³ç³â.Çàâäàííÿ ¹ 4 (4 ãîä.). Âèêîíàííÿ òåõí³÷íîãî êðåñëåííÿ, ìîäåë³.Çàâäàííÿ ¹ 5 (12 ãîä.). Âèãîòîâëåííÿ âèðîáó â ìàòåð³àë³.Çàâäàííÿ íàâ÷àëüíî¿ äèñöèïë³íè:1) ìåòîäè÷í³:– ï³äãîòîâêà ñòóäåíò³â äî ñàìîñò³éíîãî âèð³øåííÿ ïðàêòè÷íèõ ³ òâîð÷èõ çàâäàíü ó

¿õí³é òâîð÷³é ä³ÿëüíîñò³;– ðîçâèòîê åñòåòè÷íîãî òà åìîö³éíîãî ñïðèéíÿòòÿ òâîð³â äåêîðàòèâíî-ïðèêëàäíîãî

ìèñòåöòâà, óì³ííÿ ðîçóì³òè òà ö³íóâàòè íàðîäíó õóäîæíþ òâîð÷³ñòü;2) ï³çíàâàëüí³:– îçíàéîìëåííÿ ç îñíîâíèìè òåõí³êàìè ìîñÿæíèöòâà ³ êîâàëüñüêî¿ ñïðàâè òà îñî-

áëèâîñòÿìè ¿õ âèêîðèñòàííÿ ó òâîðàõ äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà, òåõíîëîã³-ºþ âèãîòîâëåííÿ òà äåêîðóâàííÿ âèðîá³â;

– îçíàéîìëåííÿ òà ðîçêðèòòÿ ñîö³àëüíèõ ðîëåé íàðîäíîãî òà ïðîôåñ³éíîãî ìèñ-òåöòâà; îçíàéîìëåííÿ ç ïðîôåñ³ÿìè õóäîæíèê³â-äèçàéíåð³â, â³äîìèõ íàðîäíèõ ìàé-ñòð³â, ç ¿õ òâîð÷îþ òà ïðàêòè÷íîþ ä³ÿëüí³ñòþ;

3) ïðàêòè÷í³:– âì³ííÿ êîðèñòóâàòèñÿ ð³çíèìè ìàòåð³àëàìè òà ìàòè ïîíÿòòÿ ïðî ³ñíóþ÷³ ñó÷àñí³

òåõí³êè õóäîæíüî¿ îáðîáêè ìåòàëó;– íàâ÷èòè êîðèñòóâàòèñÿ ñïåö³àëüíèìè ðó÷íèìè òà ìåõàí³çîâàíèìè ³íñòðóìåíòà-

ìè, ïðèñòðîÿìè, îáëàäíàííÿì â³äïîâ³äíî äî îáðàíîãî êîíñòðóêö³éíîãî ìàòåð³àëó òà òåõí³êè âèêîíàííÿ;

– íàâ÷èòè ïðîåêòóâàííþ òà âèãîòîâëåííþ âèðîá³â äåêîðàòèâíî-ïðèêëàäíîãî ìèñòå-öòâà (ðîçðîáêà òåõí³÷íèõ êðåñëåíü, ñïåöèô³êàö³¿, âèêîíàííÿ òåõíîëîã³÷íèõ îïåðàö³é).

Ìåòà âèâ÷åííÿ äèñöèïë³íè:– íà çðàçêàõ îêðåìèõ òâîð³â íàðîäíèõ ìàéñòð³â ïåðåäàòè îñíîâíó ³äåþ ñâîº¿ ðîáîòè; – äîñë³äæåííÿ òà âèâ÷åííÿ òåíäåíö³é ðîçâèòêó ñó÷àñíî¿ ìåòàëîîáðîáêè.Ï³ä ÷àñ âèâ÷åííÿ îñíîâíîãî ìàòåð³àëó ñòóäåíòè ïîâèíí³ âì³òè:


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à) ñòâîðþâàòè îðíàìåíòàëüí³ ïëîùèíí³ òà îá’ºìíî-ïðîñòîðîâ³ êîìïîçèö³¿ âèõîäÿ÷è ç ïëàñòè÷íèõ ³ òåõíîëîã³÷íèõ ìîæëèâîñòåé ìåòàëó;

á) âèêîðèñòîâóâàòè òðàäèö³éí³ ïðèéîìè îáðîáêè ìåòàëó Ãóöóëüùèíè, òàê³ ÿê êó-âàííÿ, çàêëåïóâàííÿ, íàñ³êàííÿ, ðîçðóáóâàííÿ, íàíåñåííÿ ôàêòóðè òîùî;

â) ñòâîðþâàòè õóäîæí³ òâîðè, â³äøòîâõóþ÷èñü â³ä ³ñíóþ÷èõ ó äàí³é ì³ñöåâîñò³ òðàäèö³é â ³íøèõ âèäàõ íàðîäíî¿ òâîð÷îñò³ – âèøèâö³, òêàöòâ³, ð³çüáÿðñòâ³, ïèñàí-êàðñòâ³, êåðàì³ö³ òà ³í.

Ïðàêòè÷í³ çàíÿòòÿ ïîâèíí³ áóòè íàïðàâëåí³ íà ôîðìóâàííÿ ó ñòóäåíò³â âèêîíàâ-ñüêèõ íàâèê³â ³ âì³íü äëÿ âèãîòîâëåííÿ õóäîæí³õ âèðîá³â íà îñíîâ³ çíàíü, îòðèìàíèõ ó ïðîöåñ³ òåîðåòè÷íîãî íàâ÷àííÿ (îñîáëèâî âíàñë³äîê õóäîæíüî-êîíñòðóêòîðñüêîãî àíàë³çó âèðîá³â). Íà öèõ çàíÿòòÿõ íåîáõ³äíî ãëèáîêî âèâ÷àòè ³ âèêîðèñòîâóâàòè íà ïðàêòèö³ òó òåõí³êó ³ âèñîêîõóäîæí³ ïðèéîìè íàðîäíîãî äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà, ÿê³ ìàþòü äàâí³ õóäîæí³ òðàäèö³¿ ³ ïîâ’ÿçàí³ ç íàö³îíàëüíîþ êóëüòóðîþ. Ïðè öüîìó ñòóäåíòè íå êîï³þþòü çðàçêè, à òâîð÷î âèêîðèñòîâóþòü îòðèìàí³ çíàííÿ ³ íàâèêè õóäîæíüî¿ ä³ÿëüíîñò³.

Âèêîíàí³ ñòóäåíòàìè ðîáîòè ïîâèíí³ âèð³çíÿòèñÿ ÿñêðàâîþ íàö³îíàëüíîþ ñâîºð³ä-í³ñòþ, ìàòè ïåâíó õóäîæíþ ö³íí³ñòü, õàðàêòåðèçóâàòèñÿ âèñîêîþ ÿê³ñòþ âèêîíàííÿ, áóòè ñóñï³ëüíî êîðèñíèìè. Àêòèâíå âèêîðèñòàííÿ áàãàòîâ³êîâî¿ ñïàäùèíè óêðà¿íñüêî¿ êóëüòóðè â ñó÷àñíîìó äèçàéíåðñüêîìó ïðîåêòóâàíí³ ³íòåð’ºð³â ³ ïðåäìåò³â ïîáóòó ïðèâåäå äî çáàãà÷åííÿ òà ïîäàëüøîãî ðîçâèòêó äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà, íåïåðåðâíîñò³ íàðîäíèõ òðàäèö³é, ÿê³ îðãàí³÷íî ââ³éäóòü ó ñó÷àñí³ñòü, íàáóâàþ÷è íîâîãî æèâîãî çì³ñòó.

Âèâ÷åííÿ òðàäèö³éíî¿ îáðîáêè ìåòàëó Ãóöóëüùèíè º íåçàïåðå÷íî âàæëèâèì êîì-ïîíåíòîì ó ñèñòåì³ âèùî¿ õóäîæíüî¿ îñâ³òè, ùî ñïðèÿº åôåêòèâíîìó âèõîâàííþ ó ñòóäåíò³â íàö³îíàëüíî¿ ñàìîñâ³äîìîñò³.

ßê ñâ³ä÷èòü äîñâ³ä íàøî¿ ðîáîòè, äèçàéíåðñüêà ä³ÿëüí³ñòü íà ôàêóëüòàòèâíèõ çà-íÿòòÿõ çà âèäàìè äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà ç âèâ÷åííÿì íàðîäíèõ ïðîìèñ-ë³â ³ çàñâîºííÿì õóäîæí³õ òåõí³ê ñïðèÿº ãëèáøîìó ðîçóì³ííþ ñòóäåíòàìè îñîáëèâîñ-òåé ïåâíîãî ñòèëþ ³ íàïðÿìó õóäîæíüî¿ îáðîáêè ìåòàëó.

1. Áàñàíåöü Ò. Õóäîæí³ âèðîáè ç êîëüîðîâèõ ìåòàë³â / Ò. Áàñàíåöü, Í. Ñ³÷êàðüîâà // Íàðîäíà òâîð÷³ñòü òà åòíîãðàô³ÿ. – 1993. – ¹ 5–6. – Ñ. 46–50.

2. Áîíüêîâñüêà Ñ. Õóäîæí³ òðàäèö³¿ ãóöóëüñüêîãî ìîñÿæíèöòâà / Ñ. Áîíüêîâñüêà // Çàïèñêè ÍÒØ. Ïðàö³ ñåêö³¿ åòíîãðàô³¿ òà ôîëüêëîðèñòèêè. – Ë., 1992. – Ò. ÑÑÕÕ²²². – Ñ. 115–126.

3. Ãîáåðìàí Ä. Èñêóññòâî ãóöóëîâ / Äàâèä Ãîáåðìàí. – Ì. : Ñîâåòñêèé õóäîæíèê, 1980. – 210 ñ.4. Ãîøêî Þ. Ã. Ïðîìèñëè ³ òîðã³âëÿ â óêðà¿íñüêèõ Êàðïàòàõ XV–XIX ñò. / Þ. Ã. Ãîøêî. –

Ê. : Íàóêîâà äóìêà, 1991. – 253 ñ.5. Ãðåïèíÿê Ì. Ìîñÿæíèöòâî / Ì. Ãðåïèíÿê // Ãóöóëüñüêà øêîëà. – 1998. – ¹ 1. – Ñ. 27–28.6. Äàí÷åíêî À. Ñ. Íàðîäíûå ìàñòåðà / À. Ñ. Äàí÷åíêî. – Ê. : Ðàä. øêîëà, 1982. – 128 ñ.7. Êàéíäëü Ð. Ãóöóëè: ¿õ æèòòÿ, çâè÷à¿ òà íàðîäí³ ïåðåêàçè / Ðàéìîíä Êàéíäëü. – ×åðí³âö³ :

Ìîëîäèé áóêîâèíåöü, 2001. – 208 ñ.8. Êîâàëüñüêà ìàéñòåðíÿ: Êàòàëîã: Õóäîæíÿ îáðîáêà ìåòàëó â íàâ÷àëüíèõ çàêëàäàõ Óêðà¿-

íè. – Ê., 2006. – 212 ñ.9. Êðâàâè÷ Ä. Ï. Óêðà¿íñüêå ìèñòåöòâî : íàâ÷. ïîñ³á. ó 3 ò. Ò. 3 / Ä. Ï. Êðâàâè÷, Â. À. Îâñ³é-

÷óê, Ñ. Î. ×åðåïàíîâà. – Ë. : Ñâ³ò, 2005. – 286 ñ.10. Êëàï÷óê Â. Ì. Ãóöóëüùèíà òà ãóöóëè: åêîíîì³êà ³ íàðîäí³ ïðîìèñëè (äðóãà ïîëîâèíà

XIX – ïåðøà òðåòèíà XX ñò.) : ìîíîãðàô³ÿ / Âîëîäèìèð Ìèõàéëîâè÷ Êëàï÷óê ; ²íñòèòóò óêðà¿íîçíàâñòâà ³ì. ². Êðèï’ÿêåâè÷à ÍÀÍ Óêðà¿íè, Ïðèêàðïàòñüêèé íàö³îíàëüíèé óí³âåð-ñèòåò ³ì. Â. Ñ. Ñòåôàíèêà. – Ë. ; ²âàíî-Ôðàíê³âñüê : Ôîë³àíò, 2009. – 507 ñ.

11. Ëåñüê³â Ñ. Ì. Õóäîæíº êîâàëüñòâî / Ñ. Ì. Ëåñüê³â // Äîâ³äíèê õóäîæí³õ íàðîäíèõ ïðî-ìèñë³â Óêðà¿íñüêî¿ ÐÑÐ. – Ê., 1986. – 143 ñ.

12. Ìèñòåöüêà øêîëà â ñèñòåì³ íàö³îíàëüíî¿ îñâ³òè Óêðà¿íè: Íàâ÷àëüíèé ïîñ³áíèê – Ë. : ËÀÌ, 1999. – 248 ñ.


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13. Íàðèñè ç ³ñòîð³¿ óêðà¿íñüêîãî äåêîðàòèâíîãî ïðèêëàäíîãî ìèñòåöòâà. – Ë. : Ëüâ³âñüêèé óí³âåðñèòåò, 1969. – 190 ñ.

14. Ñóõà Ë. Ì. Õóäîæí³ ìåòàëåâ³ âèðîáè óêðà¿íö³â ñõ³äíèõ Êàðïàò / Ë. Ì. Ñóõà. – Ê. : ÀÍ ÓÐÑÓÐ, 1959. – 104 ñ.

15. Øóõåâè÷ Â. Ãóöóëüùèíà. ×. 2. / Â. Øóõåâè÷ // Ìàòåð³àëè äî óêðà¿íñüêî-ðóñüêî¿ åòíîëî-ã³¿. – Ë., 1901. – Ò. IV. – 320 ñ.

16. Þñèï÷óê Þ. Â. Øêîëà Âàñèëÿ Äåâäþêà ³ ôîðìóâàííÿ ëîêàëüíèõ òðàäèö³é íîâ³òíüîãî ãóöóëüñüêîãî äåðåâîîáðîáíèöòâà òà ìåòàë³ðñòâà ê³íöÿ XIX – XX ñòîë³òòÿ. (Äæåðåëà. Òè-ïîëîã³ÿ. Ñòèë³ñòèêà) : äèñ. … êàíä. ìèñòåöòâîçíàâñòâà : 17.00.06 / Ïðèêàðïàòñüêèé óí-ò ³ì. Â. Ñòåôàíèêà. – ²âàíî-Ôðàíê³âñüê, 2001. – 176 àðê. + äîä. : ³ë.

SUMMARYThe method of study of traditional metal working on Hutsulshchyna in higher artistic

educational system which is offered in the research makes it possible to increase the stu-dents’ interest in artistic national culture to a great extent. Attending the classes with a special subject artistic metal working the students acquaint themselves with the best models of the Ukrainian popular decorative and applied arts, study the structures of pat-terns, form ornamental compositions and select traditional techniques of popular metal art for producing and decorating articles.

At the same time, the problem of influence of Hutsulshchyna traditional metal work-ing, as an important means of aesthetic education and development of students of higher educational institutions, demands a profound research with a glance of regional peculi-arities. The results of experimental studies during classes with a special subject artistic metal working showed that formation of the correct understanding of laws of decorative and applied arts among youth is a success when a process of education is based on a firm ground of folk handicrafts, and Hutsulshchyna is exactly the ethnographic region where massive stratum of folk art occurs.

Keywords: artistic culture, traditional working, folk art, brass working, farriery.

Îëüãà Ìîéñþê(Київ)

ÕÓÄÎÆÍª ÒÊÀÖÒÂÎ ÆÈÒÎÌÈÐÑÜÊÎÃÎ ÏÎË²ÑÑß Â ÍÀÓÊÎÂÈÕ ÐÎÇÂ²ÄÊÀÕ

Ó ñòàòò³ âèñâ³òëåíî ïðîáëåìè äîñë³äæåííÿ íàðîäíîãî òêàöòâà Æèòîìèðñüêîãî Ïîë³ññÿ ÿê ñâîºð³äíîãî ÿâèùà ìàòåð³àëüíî¿ òà äóõîâíî¿ êóëüòóðè Óêðà¿íè. Ïðîñòåæåíî ïðîöåñ â³ä íà-êîïè÷åííÿ ôàêòè÷íîãî ìàòåð³àëó ³ç ñåðåäèíè Õ²Õ ñò. äî ðîçêðèòòÿ ïåâíèõ àñïåêò³â òåìè â êîëåêòèâíèõ é ³íäèâ³äóàëüíèõ ìîíîãðàô³ÿõ, ñòàòòÿõ ÕÕ – ïî÷àòêó ÕÕ² ñò. Â ³ñòîðè÷í³é ðå-òðîñïåêòèâ³ çä³éñíåíî ïîð³âíÿëüíèé àíàë³ç íàêîïè÷åíèõ äæåðåëüíî¿ áàçè, âëàñíèõ ïîëüîâèõ ìàòåð³àë³â, à òàêîæ ìàòåð³àë³â, îïðàöüîâàíèõ ó ôîíäàõ Íàö³îíàëüíîãî ìóçåþ óêðà¿íñüêîãî íàðîäíîãî äåêîðàòèâíîãî ìèñòåöòâà (Êè¿â), Íàö³îíàëüíîãî öåíòðó íàðîäíî¿ êóëüòóðè «Ìóçåé ²âàíà Ãîí÷àðà» (Êè¿â), ë³òåðàòóðíî-ìåìîð³àëüíîãî ìóçåþ ³ì. Ëåñ³ Óêðà¿íêè (Íîâîãðàä-Âî-ëèíñüêèé), Æèòîìèðñüêîãî îáëàñíîãî êðàºçíàâ÷îãî ìóçåþ, Ð³âíåíñüêîãî êðàºçíàâ÷îãî ìóçåþ, Ñâÿòî-Òðî¿öüêîãî æ³íî÷îãî ìîíàñòèðÿ (Êîðåöü).

Ключові слова: äîñë³äæåííÿ, òðàäèö³éí³ âèòîêè, äåêîðàòèâíî-óæèòêîâå ìèñòåöòâî, íàðîäíå òêàöòâî, ðåã³îíàëüí³ îñîáëèâîñò³, íàðîäíèé îäÿã, îðíàìåíò.

Â ñòàòüå îñâåùåíû ïðîáëåìû èçó÷åíèÿ íàðîäíîãî òêà÷åñòâà Æèòîìèðñêîãî Ïîëåñüÿ êàê ñâîåîáðàçíîãî ÿâëåíèÿ ìàòåðèàëüíîé è äóõîâíîé êóëüòóðû Óêðàèíû. Ïðîñëåæåí ïðîöåññ îò íàêîïëåíèÿ ôàêòè÷åñêîãî ìàòåðèàëà ñ ñåðåäèíû Õ²Õ â. äî ðàñêðûòèÿ íåêîòîðûõ àñïåêòîâ


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òåìû â êîëëåêòèâíûõ è èíäèâèäóàëüíûõ ìîíîãðàôèÿõ, ñòàòüÿõ ÕÕ – íà÷àëà ÕÕ² â. Â èñòî-ðè÷åñêîé ðåòðîñïåêòèâå ïðîâåä¸í ñðàâíèòåëüíûé àíàëèç íàêîïëåííîé áàçû èñòî÷íèêîâ, ñîá-ñòâåííûõ ïîëåâûõ ìàòåðèàëîâ, à òàêæå ìàòåðèàëîâ, îáðàáîòàííûõ â ôîíäàõ Íàöèîíàëüíîãî ìóçåÿ óêðàèíñêîãî äåêîðàòèâíîãî èñêóññòâà (Êèåâ), Íàöèîíàëüíîãî öåíò ðà íàðîäíîé êóëüòó-ðû «Ìóçåé Èâàíà Ãîí÷àðà» (Êèåâ), ëèòåðàòóðíî-ìåìîðèàëüíîãî ìóçåÿ èì. Ëåñè Óêðàèíêè (Íîâîãðàä-Âîëûíñêèé), Æèòîìèðñêîãî îáëàñòíîãî êðàåâåä÷åñêîãî ìóçåÿ, Ðîâåíñêîãî êðàå-âåä÷åñêîãî ìóçåÿ, Ñâÿòî-Òðîèöêîãî æåíñêîãî ìîíàñòûðÿ (Êîðåö).

Ключевые слова: èññëåäîâàíèå, òðàäèöèîííûå èñòî÷íèêè, äåêîðàòèâíî-ïðèêëàäíîå èñêóñ-ñòâî, íàðîäíîå òêà÷åñòâî, ðåãèîíàëüíûå îñîáåííîñòè, íàðîäíàÿ îäåæäà, îðíàìåíò.

The article highlights the problems of research on folk weaving of Zhytomyr Polissia as an original phenomenon of Ukraine’s tangible and intangible cultures. There has been retraced the research process beginning with accumulation of the facts since the mid-XIXth century and con-cluding with discovery of the certain aspects of topic in the collective and individual monographs, articles of the XXth – early XXIst centuries. In the historic retrospection, there has been made a comparative analysis of accumulated source base inclusive of the author’s own field materials, as well as the materials processed at the collections of the National Folk Decorative Art Museum (Kyiv), National Centre of Folk Culture Ivan Honchar Museum (Kyiv), Literare-Memorial Muse-um to Lesia Ukrainka (Novohrad-Volynskyi), Zhytomyr Museum of Regional Ethnography, Rivne Museum of Regional Ethnography, and Holy Trinity Convent (Korets).

Keywords: research, traditional sources, applied arts, folk weaving, regional peculiarities, na-tional clothes, ornament.

Àêòóàëüí³ñòü äîñë³äæåííÿ íàðîäíîãî òêàöòâà Æèòîìèðñüêîãî Ïîë³ññÿ ïîëÿãàº â òîìó, ùî ñàìå öåé ðåã³îí º îñîáëèâî ö³ííèì äëÿ íàóêîâèõ ðîçâ³äîê åòíîãðàô³â, ìèñòå-öòâîçíàâö³â, ³ñòîðèê³â, êðàºçíàâö³â, àäæå òóò íàéêðàùå çáåðåãëèñÿ àâòåíòè÷í³ çðàçêè òðàäèö³éíîãî òêàöòâà, ùî â³ääçåðêàëþþòü äàâí³ ôîðìè ìàòåð³àëüíî¿ ³ äóõîâíî¿ êóëü-òóðè, ÿê³ «ìîæóòü ñëóæèòè åòàëîíîì äëÿ ïîð³âíÿííÿ â óñüîìó ñëîâ’ÿíñüêîìó ñâ³ò³» [39, ñ. 299].

Òêàöòâî, ÿê îäíà ç íàéá³ëüø ÿñêðàâèõ ãàëóçåé óêðà¿íñüêîãî äåêîðàòèâíî-ïðèêëàä-íîãî ìèñòåöòâà, óïåðøå ïðèâåðíóëî äî ñåáå óâàãó ïðîôåñ³éíèõ õóäîæíèê³â ³ íàóêîâ-ö³â ëèøå íàïðèê³íö³ Õ²Õ ñò. Öå çóìîâëåíî òèì, ùî äî öüîãî, ïî÷èíàþ÷è â³ä äîáè êëàñèöèçìó, â³äáóëîñÿ ð³çêå ðîçìåæóâàííÿ íà «âèñîêå» ìèñòåöòâî – æèâîïèñ, àðõ³òåê-òóðà, ñêóëüïòóðà ³ ðåì³ñíè÷å, ÿêèì óâàæàëè äåêîðàòèâíî-óæèòêîâå ìèñòåöòâî. ² ò³ëü-êè íàïðèê³íö³ Õ²Õ – íà ïî÷àòêó ÕÕ ñò. ïð³îðèòåòè ñï³âì³ðíî çì³íèëèñÿ. Â³äáóëî ñÿ öå çàâäÿêè õðåñòîìàò³éíèì ïðàöÿì À. Ð³ãëÿ (çîêðåìà «Ïðîáëåìè ñòèëþ», 1893), ÿêèé çàïðîïîíóâàâ äîëó÷èòè ðåìåñëà â çàãàëüíó êîíöåïö³þ ðîçâèòêó ìèñòåöòâà ³ ðîçãëÿ-äàòè ¿õ ÿê âàðò³ ïîøàíè é âèçíàííÿ ìèñòåöüê³ òâîðè, òàêèì ÷èíîì ñïðîñòóâàâøè ïî-øèðåíèé ñòåðåîòèï.

²äå¿ À. Ð³ãëÿ íà ìåæ³ Õ²Õ – ïî÷àòêó ÕÕ ñò. â çíà÷í³é ì³ð³ ñïðÿìóâàëè óâàãó óêðà-¿íñüêèõ íàóêîâö³â íà äîñë³äæåííÿ íàðîäíîãî ìèñòåöòâà, ó òîìó ÷èñë³ òêàöòâà é êèëè-ìàðñòâà. Îäíàê âàðòî íàãîëîñèòè, ùî â³äë³ê âèâ÷åííÿ â³ò÷èçíÿíî¿ íàðîäíî¿ ñïàäùèíè ïî÷èíàºòüñÿ íàáàãàòî ðàí³øå. Çîêðåìà, ç 1862 ðîêó ðîçïî÷àâñÿ íàäçâè÷àéíî ïë³äíèé ïåð³îä íàóêîâî-êðàºçíàâ÷î¿ ä³ÿëüíîñò³ Ã. Îññîâñüêîãî, ñïðÿìîâàíèé íà äîñë³äæåííÿ Æèòîìèðùèíè. Ìàêñèìàëüíî ïîºäíóþ÷è ñâîþ ñëóæáó ç îñîáèñòèìè êðàºçíàâ÷èìè ³íòåðåñàìè, ñï³ëüíî ç ². Á³ëèêîì, Î. Áðàò÷èêîâèì, Ï. Êîñà÷åì, Ë. Êðóøèíñüêèì òà ³íøèìè îäíîäóìöÿìè, Ã. Îññîâñüêèé îðãàí³çóâàâ êðàºçíàâ÷èé îñåðåäîê ïðè Âî-ëèíñüêîìó ãóáåðíñüêîìó ñòàòèñòè÷íîìó êîì³òåò³. Ñàìå çàâäÿêè ö³ëåñïðÿìîâàí³é ä³-ÿëüíîñò³ Ã. Îññîâñüêîãî ³ éîãî êîëåã ó 70-õ ðîêàõ XIX ñò. çàêëàäåíî ïî÷àòêîâèé åòàï íàóêîâîãî âèâ÷åííÿ êðàþ [23].

Ïðàö³ óêðà¿íñüêèõ ³ çàðóá³æíèõ íàóêîâö³â íàïðèê³íö³ Õ²Õ – íà ïî÷àòêó ÕÕ ñò. ì³ñòÿòü âàæëèâ³ â³äîìîñò³ ïðî ðåìåñëà ï³âäåííî-çàõ³äíîãî ðåã³îíó. Ö³ííèìè äëÿ ðîç-êðèòòÿ íàóêîâèõ ï³äâàëèí äîñë³äæåííÿ óêðà¿íñüêîãî òêàöòâà, çîêðåìà Æèòîìèðñüêî-ãî ïîâ³òó Âîëèíñüêî¿ ãóáåðí³¿, º îïóáë³êîâàí³ ðîáîòè À. Àôàíàñüºâà, Î. Áðàò÷èêîâà,


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Ï. ²ñïîëàòîâñüêîãî, Í. Í³ê³ôîðîâñüêîãî. Ó ôóíäàìåíòàëüíîìó âèäàíí³ Ï. ×óáèíñüêî-ãî [41] ì³ñòÿòüñÿ âàæëèâ³ â³äîìîñò³ ïðî ìàòåð³àëüíó êóëüòóðó óêðà¿íö³â (çîêðåìà ç Æèòîìèðñüêîãî ïîâ³òó) – æèòëî, çíàðÿääÿ, õàòíº íà÷èííÿ, îäÿã òà ¿æó, ùî «ôàêòè÷-íî áóëî ïåðøîþ â óêðà¿íñüê³é åòíîãðàô³¿ ñïðîáîþ äàòè õàðàêòåðèñòèêó íå ëèøå äó-õîâ í³é, à é ìàòåð³àëüí³é êóëüòóð³ óêðà¿íñüêîãî íàðîäó» [36].

Çàóâàæèìî, ùî äî öüîãî æ ïåð³îäó íàëåæàòü ôîëüêëîðíî-åòíîãðàô³÷í³ ñòóä³¿ òðà-äèö³éíî¿ îáðÿäîâîñò³, çâè÷à¿â òà â³ðóâàíü À. Áîãäàíîâè÷à, Õâ. Âîâêà, Ä. Çåëåí³íà, À. Ìàëèíêè, À. Ñåðæïóòîâñüêîãî, Ì. Ñóìöîâà, Ï. Øåéíà. Â³äïîâ³äíî, äëÿ ìèñòå-öòâîçíàâ÷îãî àíàë³çó îðíàìåíòèêè îêðåñëåíîãî íàìè ðåã³îíó ö³ííèìè º òàêîæ ïðàö³ Â. Àíòîíîâè÷à, Ì. Á³ëÿø³âñüêîãî, Õâ. Âîâêà, Î. Êîñà÷åâî¿, Ã. Ïàâëóöüêîãî, ². Ðà-êîâñüêîãî.

Îêð³ì åòíîãðàô³÷íèõ äîñë³äæåíü, ó ñïåö³àë³çîâàí³é ë³òåðàòóð³ ïî÷àòêó ÕÕ ñò. çíà÷ íó óâàãó ïðèä³ëåíî òåì³ êóñòàðíî¿ ïðîìèñëîâîñò³. Âàæëèâ³ â³äîìîñò³ ïðî îñîá-ëèâîñò³, òâîð÷³ íàäáàííÿ òà îáñÿã êóñòàðíèõ âèðîáíèöòâ äðóãî¿ ïîëîâèíè Õ²Õ – ïî-÷àòêó ÕÕ ñò. ÷åðïàºìî ç äæåðåëà, äå îïèñàí³ ïðîìèñëè é ðåìåñëà ó Âîëèíñüê³é ãóáåð-í³¿ [24]. Ó äàí³é ïðàö³, îêð³ì çàçíà÷åíèõ äåêîðàòèâíî-óæèòêîâèõ ïðîìèñë³â, îñîáëèâî âèð³çíÿºòüñÿ õóäîæíº òêàöòâî Æèòîìèðùèíè, îñê³ëüêè Æèòîìèðñüêèé ïîâ³ò íà òîé ÷àñ çàéìàâ ïåðøå ì³ñöå çà ê³ëüê³ñòþ ä³þ÷èõ ïðîìèñë³â ñàìå ç îáðîáêè âîëîêíèñòèõ ìàòåð³àë³â (ïðÿä³ííÿ âîâíè, ñóêàííÿ íèòîê, òêàöòâî, êèëèìàðñòâî).

²ñòîð³þ ðîçâèòêó òà äîñë³äæåííÿ äåêîðàòèâíî-óæèòêîâîãî ìèñòåöòâà âèñâ³òëþâàëè ÿê â îïóáë³êîâàíèõ óçàãàëüíþþ÷èõ ïðàöÿõ, òàê ³ â òåìàòè÷íèõ ðîçâ³äêàõ, ïðèñâÿ-÷åíèõ ð³çíèì éîãî âèäàì, çîêðåìà òêàöòâó é êèëèìàðñòâó, ç ¿õ ðåã³îíàëüíî-ëîêàëü-íîþ ñïåöèô³êîþ. Øåñòèòîìíà «²ñòîð³ÿ óêðà¿íñüêîãî ìèñòåöòâà» (Ê., 1968) ïîçíà÷åíà ôðàãìåíòàðí³ñòþ äæåðåëüíî¿ áàçè ùîäî äàíî¿ òåìè ³ ïîë³òè÷íî îáìåæåíîþ òåíäåíö³ºþ ó ôîðìóëþâàíí³ âèñíîâê³â, óíàñë³äîê ÷îãî âîíà ìàº íå äîñòàòíüî îá’ºêòèâíó ïîâíî-òó âèñâ³òëåííÿ åâîëþö³éíîãî ïðîöåñó ðîçâèòêó ö³º¿ ãàëóç³ äåêîðàòèâíîãî ìèñòåöòâà. Ïðîòå òàêà áàãàòîð³÷íà ãðàíä³îçíà äîñë³äíèöüêà ðîáîòà ñïðèÿëà ïîæâàâëåííþ ìèñòå-öòâîçíàâ÷î¿ äóìêè òà ñêîîðäèíóâàëà øëÿõè ìàéáóòí³õ ïîøóê³â.

Îïóáë³êîâàí³ äîñë³äæåííÿ ïåð³îäó áåçäåðæàâíîñò³ óêðà¿íñüêîãî õóäîæíüîãî ïðî-öåñó ïåðåâàæíî òðàêòóâàëèñÿ íàóêîâöÿìè ïîçà êîíòåêñòîì íàö³îíàëüíî¿ ìèñòåöüêî¿ òðàäèö³¿, í³âåëþþ÷è â òàêèé ñïîñ³á ¿¿ åòíîíàö³îíàëüí³ âèòîêè. Íà ïðîòèâàãó öüîìó ïî÷àòîê ÕÕ² ñò. ïîçíà÷åíèé îá’ºäíàííÿì íàéêðàùèõ ìèñòåöüêèõ ³ íàóêîâèõ ñèë Óêðà-¿íè, ÿê³ âñå àêòèâí³øå ñïðèÿþòü ðîçâèòêó ïðîôåñ³éíîãî ³ íàðîäíîãî äåêîðàòèâíîãî ìèñòåöòâà, çîêðåìà çáåðåæåííþ ³ äîñë³äæåííþ éîãî òðàäèö³éíî¿ ñïàäùèíè. Ìèñòå-öòâîçíàâö³ ïðàãíóòü ãëèáøå äîñë³äèòè é ðåòåëüíî âèñâ³òëèòè ëîêàëüí³ ðåã³îíàëüí³ îñîáëèâîñò³ åâîëþö³¿ àâòåíòè÷íèõ ôîðì íàðîäíîãî äåêîðàòèâíî-óæèòêîâîãî ìèñòå-öòâà, çîêðåìà òêàöòâà, ÷åðåç ïðèçìó çàãàëüíîóêðà¿íñüêèõ éîãî âèÿâ³â òà â ïàíîðàì³ ºâðîïåéñüêîãî ìèñòåöüêîãî ïðîñòîðó.

Êîëåêòèâí³ ïðàö³ Ò. Êàðè-Âàñèëüºâî¿, Ç. ×åãóñîâî¿, Ì. Á³ëàí, Ã. Ñòåëüìàùóê â ñêàðáíèö³ óêðà¿íñüêîãî íàðîäíîãî ìèñòåöòâà ïîñ³äàþòü âèçíà÷íå ì³ñöå, àäæå ¿õ óâàãà ñïðÿìîâàíà ñàìå íà ðîçëîãå âèâ÷åííÿ õóäîæíüîãî òêàöòâà, éîãî ³ñòîð³¿, òðàäèö³é, ðåã³îíàëüíèõ îñîáëèâîñòåé.

¥ðóíòîâíî äîñë³äæåíî òåõí³êó òà òåõíîëîã³þ òêàöòâà, îðíàìåíòàëüíî-êîìïîçèö³éí³ ñõåìè íàðîäíèõ õóäîæí³õ òêàíèí ó çàãàëüíîóêðà¿íñüêîìó ¿õ âèÿâ³ ó ôóíäàìåíòàëü-íèõ ïðàöÿõ óêðà¿íñüêèõ íàóêîâö³â – Î. Íåñòåð, Î. Íèêîðàê, Ñ. Ñèäîðîâè÷. Íàðîäíå òêàöòâî â êîíòåêñò³ äóõîâíî¿ êóëüòóðè äîñë³äæóâàëà Î. Áîðÿê. Îêðåì³ àñïåêòè òêà-öòâà Æèòîìèðùèíè âèñâ³òëåíî â äæåðåëàõ äðóãî¿ ïîëîâèíè ÕÕ ñò., çîêðåìà â ìîíî-ãðàô³ÿõ ïðîâ³äíèõ äîñë³äíèê³â â³ò÷èçíÿíîãî õóäîæíüîãî òåêñòèëþ À. Æóêà, ß. Çà-ïàñêà, Ñ. Ñèäîðîâè÷.

Âàæëèâèì óíåñêîì ó äîñë³äæåííÿ óêðà¿íñüêîãî âáðàííÿ º ìîíîãðàô³¿ òàêèõ â³äî-ìèõ äîñë³äíèê³â, ÿê Ç. Âàñ³íà, Ã. Ãîð³íà, Ò. Êàðà-Âàñèëüºâà, Î. Äóäàð, Ð. Çàõàð-÷óê-×óãàé, Î. Êóëü÷èöüêà, Þ. Ëàùóê, Ê. Ìàòåéêî, Ã. Ñòåëüìàùóê, À. Óêðà¿íåöü, Ì. Á³ëàí, ÿê³ îñîáëèâó óâàãó ñïðÿìóâàëè íà äîñë³äæåííÿ Óêðà¿íñüêîãî Ïîë³ññÿ.


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Îá’ºêòîì íàóêîâèõ çàö³êàâëåíü ó÷åíèõ ñòàëà ³ñòîð³ÿ òêàöòâà, õóäîæí³ îñîáëèâîñ-ò³ òêàíèí óêðà¿íñüêîãî íàðîäíîãî âáðàííÿ, âèâ÷åííÿ êîìïëåêñíîñò³ êîñòþìà, éîãî ïîáóòîâå ïðèçíà÷åííÿ. Íàóêîâö³ ïðîâåëè ìèñòåöòâîçíàâ÷èé àíàë³ç óêðà¿íñüêîãî íà-ðîäíîãî îäÿãó, äîñë³äèëè éîãî ñòèë³ñòè÷í³, ðåã³îíàëüí³ îñîáëèâîñò³, âèçíà÷èëè ðîëü ïðèðîäíî-ãåîãðàô³÷íèõ òà ³ñòîðè÷íèõ óìîâ ó ôîðìóâàíí³ îðíàìåíòàëüíî-êîìïîçèö³é-íî¿ ñèñòåìè, çíà÷åííÿ ñèìâîë³â ³ êîëüîðó, à òàêîæ ðîçãëÿíóëè òåõí³êó é òåõíîëîã³þ âèãîòîâëåííÿ âáðàííÿ òà éîãî ôóíêö³îíàëüíå ïðèçíà÷åííÿ.

Áàãàòèì ôàêòè÷íèì ìàòåð³àëîì âèð³çíÿºòüñÿ äîðîáîê Ì. Á³ëàí ³ Ã. Ñòåëüìàùóê [5, ñ. 328], ÿêèé çâåðòàº óâàãó ÷èòà÷à íà àñïåêòè ôîðìóâàííÿ óêðà¿íñüêîãî ñòðîþ, ñÿãàþ÷è éîãî âèòîê³â. Ó äðóã³é ÷àñòèí³ êíèãè, ùî ìàº íàçâó «Òðàäèö³éí³ ñòðî¿ åòíî-ãðàô³÷íèõ ðåã³îí³â Óêðà¿íè», àâòîðè ïðîàíàë³çóâàëè îäÿã çà ïåâíèìè âèçíà÷åíèìè êðèòåð³ÿìè: ÷îëîâ³÷èé ³ æ³íî÷èé îäÿã, âåñ³ëüíå âáðàííÿ.

Àêòóàëüíîþ º ñòàòòÿ ². Íåñåí [27], ó ÿê³é äîñë³äíèöÿ ïðîàíàë³çóâàëà ïðîáëåìè êîìïîíóâàííÿ âèñòàâêîâèõ êîñòþì³â ó ìóçåÿõ. Ó äîñë³äæåíí³ àâòîðêà ñïî÷àòêó ïðåä-ñòàâèëà åòíîãðàô³÷í³ äæåðåëüí³ â³äîìîñò³ ³ äîïîâíèëà ¿õ âëàñíèìè ïîëüîâèìè ìàòåð³-àëàìè, íàêîïè÷åíèìè íà ìåæ³ ÕÕ – ÕÕ² ñò., íà îñíîâ³ ÷îãî îõàðàêòåðèçóâàëà îñíîâí³ òåíäåíö³¿ ôóíêö³îíóâàííÿ òà çì³íè æ³íî÷îãî îäÿãó äàíî¿ òåðèòîð³¿ â îáðàíèé íåþ ³ñòîðè÷íèé ïåð³îä. Äîñë³äíèöÿ ñòâåðäæóº, ùî ìóçåéí³ êîëåêö³¿ º âàæëèâèì ³ äîñèòü ñàìîäîñòàòí³ì äæåðåëîì äëÿ âèÿâëåííÿ íåâ³äîìèõ ñüîãîäí³ â³ò÷èçíÿí³é åòíîëîã³÷í³é íàóö³ âàð³àíò³â ì³êðîðåã³îíàëüíèõ êîñòþì³â [27, ñ. 239].

Ó ñòàòò³ Î. Âàñÿíîâè÷à [9] îõàðàêòåðèçîâàíî îäÿã çàìîæíèõ âåðñòâ íàñåëåííÿ îá-ëàñò³ (àâòîð ïîêëèêàâñÿ ó ñâîºìó äîñë³äæåíí³ íà ôàêòè÷íèé ìàòåð³àë òà âëàñí³ ïî-ëüîâ³ çàïèñè).

Äî ïèòàííÿ ñïîð³äíåíîñò³ íàö³îíàëüíèõ îñîáëèâîñòåé âáðàííÿ óêðà¿íö³â ³ á³ëî-ðóñ³â Ïîë³ññÿ çâåðíóëàñÿ ³ Ë. Áóëãàêîâà-Ñèòíèê [7]. Âîíà ïðîàíàë³çóâàëà íàðîäíèé îäÿã îêðåñëåíèõ íàðîä³â, îõîïèâøè õðîíîëîã³÷í³ ìåæ³ ê³íöÿ Õ²Õ – ïåðøî¿ ÷âåðò³ ÕÕ ñò., òà ïîäàëà òàê³ ãåîãðàô³÷í³ òåðèòîð³¿ – Âîëèíñüêà, Ð³âíåíñüêà, Æèòîìèðñüêà, Êè¿âñüêà îáëàñò³ Óêðà¿íè ³ Áðåñòñüêà é Ãîìåëüñüêà îáëàñò³ Á³ëîðóñ³¿, ùî çóìîâëå-íî ïåâíîþ àðåàëüíîþ îäíîòèïí³ñòþ â îäÿç³ äàíèõ òåðèòîð³é. Ó ðîçâ³äö³ äîñë³äíèöÿ ïðåçåíòóâàëà îêðåì³ ñõîæ³ é â³äì³íí³ ñïåöèô³÷í³ îçíàêè á³ëîðóñüêèõ é óêðà¿íñüêèõ ñòðî¿â, ùî ñïîíóêàþòü äî òàêèõ âèñíîâê³â: çà ñèñòåìîþ êîìïîíåíò³â òðàäèö³éíèé îäÿã óêðà¿íñüêèõ ³ á³ëîðóñüêèõ ïîë³ùóê³â îäíîð³äíèé, îäíàê ìàº ñóòòºâ³ â³äì³ííîñò³ â êðî¿, ñïîñîá³ íîñ³ííÿ, ìàòåð³àë³, êîìá³íàòîðèö³ îðíàìåíòàëüíèõ ñïîëó÷åíü ³ êîëüîðî-â³é ãàì³. Ïåðåâàæíî òàê³ â³äì³ííîñò³ ÷àñòî îáìåæåí³ ëèøå â ìåæàõ îêðåìèõ ðàéîí³â, ùî íàéêðàùå âèÿâëÿºòüñÿ â îñîáëèâî ÿñêðàâîìó çäîáóòêó òðàäèö³éíî¿ êóëüòóðè êîæ-íîãî åòíîñó – ñâÿòêîâîìó é îáðÿäîâîìó îäÿç³, ÿêèé «á³ëüøå, í³æ ³íø³ ñôåðè ïîáóòó, ³ëþñòðóº éîãî íàö³îíàëüíó ñïåöèô³êó» [7, ñ. 76].

Äîñë³äíèê Ì. Ðàìàíþê òàêîæ âèîêðåìèâ òðàäèö³éíèé îäÿã Çàõ³äíîãî, Ñõ³äíîãî é Ïðèï’ÿòñüêîãî Ïîë³ññÿ, ñòâåðäæóþ÷è ïðî àðõà¿÷í³ñòü òðàäèö³é êðîþ òà îçäîáëåííÿ â á³ëîðóñüêîìó îäÿç³.

Àíàë³ç îðíàìåíòàëüíèõ ìîòèâ³â òêàöòâà â êîìïëåêñ³ ç õóäîæí³ìè îñîáëèâîñòÿìè òåõí³ê âèêîíàííÿ çä³éñíåíî â ñòàòòÿõ ³ ìîíîãðàô³¿ Ñ. Ñèäîðîâè÷ [35]. Àâòîðêà äîñë³-äèëà øèðîêèé ñïåêòð õóäîæíüîãî òåêñòèëþ – ð³çí³ òèïè òêàíèí ³ òåõí³ê (êèëèìîâå çàêëàäíå òêàííÿ, ïåðåá³ðíå òêàííÿ, âèá³éêó). Áåðó÷è äî óâàãè õóäîæí³ îñîáëèâîñò³ òåõí³êè, êîìïîçèö³þ òà õàðàêòåð îðíàìåíòèêè, à òàêîæ àñîðòèìåíò âèðîá³â, Ñ. Ñèäî-ðîâè÷ ðîçðîáèëà êëàñèô³êàö³þ òåêñòèëüíèõ âèðîá³â, ðîçä³ëèâøè ¿¿ íà ÷îòèðè òåðèòî-ð³àëüí³ êîìïëåêñè. Ó ñâî¿õ ïóáë³êàö³ÿõ òà ìîíîãðàô³¿ äîñë³äíèöÿ îïåðóº äåòàëüíèìè â³äîìîñòÿìè ïðî âèðîáíè÷èé ïðîöåñ, àñîðòèìåíò âèðîá³â ³ ¿õ çàñòîñóâàííÿ, ðåã³îíàëü-í³ îñîáëèâîñò³ äåêîðóâàííÿ òåêñòèëþ.

Àíàë³çóþ÷è îçíà÷åíå êîëî ïðîáëåì, íà îñîáëèâó óâàãó çàñëóãîâóþòü ïðàö³ Î. Íèêî-ðàê, À. Óêðà¿íåöü ³ Ì. Ñåë³âà÷îâà, ÿê³ ´ðóíòîâíî äîñë³äèëè óêðà¿íñüêå íàðîäíå âáðàí-íÿ, çîêðåìà êîìïëåêñè Óêðà¿íñüêîãî Ïîë³ññÿ, êëàñèô³êóâàëè íàðîäí³ òêàíèíè ³ äîñèòü ÷³òêî îïèñàëè óêðà¿íñüêó îðíàìåíòèêó, ïîä³ëèâøè ¿¿ íà ïåâí³ êëàñè, âèäè é ï³äâèäè.


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Îñîáëèâî âàæëèâîþ â ³ñòîð³îãðàô³¿ òêàöòâà º ìîíîãðàô³ÿ ëüâ³âñüêî¿ äîñë³äíèö³ Î. Íèêîðàê [30], äå íà ñóòòºâîìó äæåðåëüíîìó ³ ôàêòîëîã³÷íîìó ìàòåð³àë³ ïðîñòå-æåíî âèòîêè é âèñâ³òëåíî ðîçâèòîê óêðà¿íñüêîãî íàðîäíîãî òêàöòâà. Ó íàóêîâèé îá³ã âïðîâàäæåíà ðîçðîáëåíà àâòîðêîþ òèïîëîã³ÿ òêàíèõ âèðîá³â; îñîáëèâà óâàãà ïðèä³ëå-íà ì³ñöåâèì õóäîæí³ì îñîáëèâîñòÿì çàõ³äíîóêðà¿íñüêèõ òêàíèí äëÿ ³íòåð’ºðó æèòëà ³ öåðêâè, âèêîðèñòàííþ òâîð³â òðàäèö³éíîãî òêàöòâà ó çâè÷àÿõ òà îáðÿäàõ.

Ó ïðàö³ Ì. Ñåë³âà÷îâà [33] âèÿâëåíî äîñèòü óñï³øíó ñïðîáó ïîäîëàííÿ ìåòîäîëî-ã³÷íîãî áàð’ºðó îïèñîâîñò³ é íàëåæíîãî çàñòîñóâàííÿ ïîÿñíþâàëüíîãî, åòíîïñèõîãåíå-çîâîãî ï³äõîäó â ðîçêðèòò³ îá’ºêòèâíî¿ ñóòíîñò³ òðàäèö³éíî¿ ñèìâîë³êè. Éîãî äîñë³-äæåííÿ ìàº åíöèêëîïåäè÷íèé õàðàêòåð, äå ìàéæå âñ³ äîñòóïí³ â íàø ÷àñ ìàòåð³àëè ç îðíàìåíòèêè îïèñàí³, êëàñèô³êîâàí³, âðàõîâóþ÷è ïàðàäèãìó (çðàçîê, åòàëîí), ùî âèçíà÷àº äîïóñòèì³ñòü çàì³í îäíîãî îáðàçó ³íøèì ó â³äïîâ³äíîìó çíà÷åíí³, ³ ñèíòàã-ìàòè÷íèé ïëàí, òîáòî ðîçãëÿä ³ õàðàêòåðèñòèêà çíà÷åííÿ îðíàìåíòàëüíîãî åëåìåíòà â êîíòåêñò³ êîìïîçèö³éíî¿ ñõåìè, àáî ðàïîðòíîãî éîãî ïîâòîðåííÿ, çîêðåìà â òêàöòâ³. Ñèíõðîííèé ³ ä³àõðîííèé àíàë³çè äîïîìàãàþòü ðåïðåçåíòóâàòè ö³ë³ñíó êàðòèíó îïè-ñóâàíîãî ìàòåð³àëó. Àâòîð äîñèòü ÷³òêî îïèñàâ óêðà¿íñüêó îðíàìåíòèêó òà ïîä³ëèâ ¿¿, â³äïîâ³äíî äî ãàëóçåé äåêîðàòèâíî-ïðèêëàäíîãî ìèñòåöòâà, íà ïåâí³ êëàñè, âèäè ³ ï³äâèäè, äîñë³äèâ ìàéæå âñ³ óêðà¿íñüê³ îðíàìåíòè, çîêðåìà îêðåì³ äîì³íàíòí³ ïåðøî-âçîðè íàðîäíîãî òåêñòèëþ Æèòîìèðñüêîãî Ïîë³ññÿ, òà äîñë³äèâ ¿õ ðîëü ³ çíà÷åííÿ, çîêðåìà â òêàöòâ³ é êèëèìàðñòâ³.

ßñêðàâèì óíåñêîì ó äîñë³äæåííÿ õóäîæíüîòêàíèõ ðóøíèê³â Ïîë³ññÿ, çîêðåìà Æèòîìèðùèíè, º ñòàòò³ Ë. Áóëãàêîâî¿ [6; 8]. Ó ïåðø³é ðîáîò³ äîñë³äíèöÿ ïðåäñòàâèëà ö³êàâ³ ïîëüîâ³ ìàòåð³àëè ïðî äîìîòêàí³ ðóøíèêè, ç³áðàí³ ï³ä ÷àñ êîìïë

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