1950-1960 年代乌克兰纪念碑绘画的恢复。社会愿望与意识形态的碰撞

Viktor Karpov
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引用次数: 0

摘要

文章的目的是在社会、经济和意识形态因素影响的背景下,研究 1945-1960 年代战后乌克兰纪念性绘画遗址修复工作的特殊性。研究方法包括应用一般科学方法和特殊研究方法,特别是分析、综合、归纳和演绎、概括和抽象、半描述性和描述性方法,这些方法共同使研究获得有理有据的结论成为可能。科学的新颖性在于概述了保护 1950--1960 年代战后艺术遗产的总体方向和方法,确定了得失。结论。在全球范围内大规模破坏文化遗产古迹,需要执行复杂的古迹保护和修复任务的背景下,形成了壁画修复领域的科学方法论基础。第二次世界大战后,由于缺乏物质、技术和方法基础、合格的人力资源以及工作组织方面的缺陷,文化艺术古迹修复的速度和数量都受到了新挑战的影响。与此同时,带有明显极权主义色彩的无神论国家政策所造成的深层次破坏,对乌克兰的许多历史和文化古迹造成了致命的影响,给该国的修复工作带来了矛盾。由于文化界领军人物和新的乌克兰古迹艺术修复学派创始人卢卡-卡连琴科、奥利哈-普利胡什、叶夫亨-马莫拉特的积极参与,战后最初几十年对国家修复和古迹保护行业的形成起到了决定性作用。关键词:古迹绘画、修复、修复工作室、古迹保护。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Restoration of Monumental Painting in Ukraine in the 1950–1960s. Social Aspirations and Ideological Collisions
The purpose of the article is to consider the peculiarities of restoration of sites of monumental painting of Ukraine in the post-war years 1945-1960s in the context of the influence of social, economic, and ideological factors. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalisation and abstraction, semitic, descriptive, which together made it possible to obtain well-founded conclusions. The scientific novelty consists in outlining the general directions and approaches in preserving the artistic heritage of the post-war period of the 1950s-1960s, identifying gains and losses. Conclusions. Against the background of the global scale of the destruction of cultural heritage monuments, which required the implementation of complex monument protection and restoration tasks, the foundations of scientific methodology in the field of restoration of wall paintings were formed. The increase in the pace and volume of the restoration of cultural and artistic monuments after the Second World War was affected by new challenges caused by the lack of a material, technical and methodological base, qualified human resources, and shortcomings in the organisation of work. At the same time, deep destructive manifestations caused by atheistic state policy with a pronounced totalitarian colour have become fatal for a number of Ukrainian historical and cultural monuments, introducing a contradictory character into the establishment of the restoration work in the country. Thanks to the active position of leading cultural figures and the founders of the new Ukrainian restoration school of monumental art – Luka Kalenichenko, Olha Plihusch, Yevhen Mamolat, the first post-war decades became decisive in the formation of the national restoration and monument protection industries. Keywords: monumental painting, restoration, restoration workshop, preservation of monuments.
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