Peculiarities of china painting of the Budy Porcelain Factory on the example of Boris Pianyda’s works (1970s — 1990s)

Abstract

The purpose of this article is to study the artistic language of Borys Pianyda, a well-known master of Ukrainian decorative painting. As the main ele-ments of the artistic language, we consider: 1) formal connections in a work of art; 2) composition and plastic language of painting; 3) figurative and stylistic features. Borys Petrovych Pianyda (1938–2020) is a well-known master of decorative painting, who devoted his entire creative life to the production of faience art products. His art is a vivid example of the author’s creativity. Many of the artist’s works became well-known and were widely distributed in thousands of copies. His painting is very recognizable; Borys Pianyda is characterized by a special author’s artistic style of decoration. For modern art history analysis, its ensemble painting is of great importance. It is primarily associated with the decoration of china and complex faience products. The artist very often had to develop a special style of decor that could be applied to products of various shapes. The methodology. To study the problem and disclose research tasks, we applied: the method of comparative analysis; methods for analyzing the form and composition of artistic painting. The historical-chronological method was used as a spe-cial method. The results. Our analysis of the main decor criteria on the example of the services of the 1970s — 1990s allows us to note the special nature of artistic and figurative generalization. This author’s style of B. Pianyda has obvious features of the ensemble and expresses the author’s vision of the stylistic unity of decoration. In general, we single out several of the most characteristic types of ensemble painting. 1. Ensembles of flat type. This is a special type of painting, when the decoration covers the forms of products as tightly as possible. 2. Ensembles with dominance of symbols and images. This type is characterized by the use of one (sometimes two) key image-signs (for example, a fading flower). 3. An important type is the ensemble story. In the creative palette of B. Pianyda’s murals, this is a completely separate topic, it is extremely authorial and subjective. The narrative is typical for the artists of decorative and applied painting of the second half of the XX century. Also, this trait can be considered a characteristic of a whole generation of artists. However, B. Pianyda’s ensembles-stories have many special features that are worthy of separate consideration. 4. Finally, formal ensemble murals are distinguished by the fact that their decorative program develops the ideas of the dominance of the form of murals over the plot. The scientific novelty. Creativity of Borys Pianyda in this research context is considered for the first time. The features of his professional painting language as a systemic artistic phenomenon have not been studied before.