Ukrainian wall painting of the 1960s-1980s: the evolution of the artistic language

Galyna Sklyarenko
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Abstract

The article is devoted to the analysis of one of the most paradoxical phenomena of artistic culture of the late Soviet era - monumental and decorative art, which, despite its programmatic socio-political involvement, became part of “Soviet modernism”, combining social utopia with a variety of formal, plastic, stylistic, aesthetic directions, which reflected the search for a new national and individual author’s artistic language and imagery. Significant, that exactly murals and architecture put beginning to the processes of the aesthetic updating, that became the signs of social and political thaw in the USSR. Keeping the main tasks “ of leninist plan of monumental propaganda”, monumental -decorative art in Ukraine grew into a certain “aesthetic niche”, where found a display wide address to reasons of folk art and different aspirations of modernism, and at the same time and development of new withcomposition charts of late Soviet iconography. The evolution of wall painting – from mainly planar and decorative solutions of the 1960s to complex figurative and spatial constructions of the 1970s and 1980s, the expansion of wall painting techniques ( mosaics, frescoes, stained glass windows, sgraffito, mosaic reliefs, encaustics, various types of painting, etc.) reflected the demonstration processes in Soviet art, where through wall painting new images, languages and aesthetics entered the public space, which significantly expanded its official canonical dimensions.
20世纪60 - 80年代的乌克兰壁画:艺术语言的演变
本文致力于分析苏联后期艺术文化中最矛盾的现象之一-纪念性和装饰性艺术,尽管它具有纲理性的社会政治参与,但它成为“苏联现代主义”的一部分,将社会乌托邦与各种形式,造型,风格,美学方向相结合,反映了对新的国家和个人作者的艺术语言和意象的探索。重要的是,正是壁画和建筑开启了审美更新的进程,这成为苏联社会和政治解冻的标志。保持“列宁主义纪念性宣传计划”的主要任务,乌克兰的纪念性装饰艺术发展成为一定的“美学利基”,在那里发现了民间艺术的原因和现代主义的不同愿望的广泛展示,同时也发展了苏联后期的新构图图表。壁画的演变——从20世纪60年代主要的平面和装饰性解决方案到20世纪70年代和80年代复杂的具象和空间结构,壁画技术的扩展(马赛克、壁画、彩色玻璃窗、涂鸦、马赛克浮雕、彩绘、各种类型的绘画等)反映了苏联艺术的示范过程,通过壁画,新的图像、语言和美学进入了公共空间。这极大地扩展了它的官方规范维度。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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