二十世纪基辅艺术纺织品学派的产生与发展

IF 0.2 Q4 HISTORY & PHILOSOPHY OF SCIENCE
Vasyl Andriiashko, Mykola Bilyk, V. Kostiukova
{"title":"二十世纪基辅艺术纺织品学派的产生与发展","authors":"Vasyl Andriiashko, Mykola Bilyk, V. Kostiukova","doi":"10.32703/2415-7422-2022-12-1-69-87","DOIUrl":null,"url":null,"abstract":"The article provides a thorough overview of the evolutionary process of the emergence, establishment, and development of the Kyiv school of artistic textiles. It reveals the influence of various factors (ideological, political, economic, and aesthetic) on this process. The historical and factual method allowed us to study socio-economic, as well as historical and cultural factors that contributed to the emergence, establishment, and development of the Kyiv textile school in a chronological sequence. Both separate Kyiv textile artists’ works and the differences of other schools were analyzed by the comparative method. It is established that the very fact of emergence of the Kyiv school of artistic textile, as a community of style, unity of forms, preservation, and continuity of traditions, had unbiased backgrounds since Ukrainian decorative weaving, a part of which is Kyiv weaving, inherited the abundant artistic traditions that were created over the centuries and most vividly manifested through the art of Kyivan Rus. It showed the significance of Kyiv as a major administrative and cultural center of Ukraine in the emergence and development of the textile school. The status of the capital city was the reason why prominent artistic forces concentrated there, creating several outstanding textile artworks intended for various purposes during the 1920–1990s. The ideology of the ruling Communist Party of the Soviet Union, which ordered the artworks for its glorification, had a stimulating impact on the emergence of the school. Analysis of the data allowed us to periodize the stages of emergence and development of the Kyiv school of artistic textiles as an educational institution. Typical features of the Kyiv textile school at different stages of its development in 1920–1990s are as follows: a) The presence of a plot theme, the epic breadth of the depicted scene, and the scale in monumental and decorative textiles; b) The stylization of themes, their conventional interpretation, and two-dimensional images that suggest the absence of perspective and the illusory representation of three-dimensional forms in decorative (non-figurative) large tapestries and decorative stage curtains made in various techniques; c) The preservation of established iconographic compositions created by predecessors, but performed in a new (stylistic and coloristic) interpretation in traditional textiles; d) As for the industrial textiles, the presence of two trends in the artistic design of fabrics: The first is associated with the artists’ focusing on the entire spectrum of the world (primarily European) textile fashion; The second one involves the transformation of traditional popular graphic themes in fundamentally new compositional developments.","PeriodicalId":36356,"journal":{"name":"History of Science and Technology","volume":"80 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2022-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Emergence and development of the Kyiv school of artistic textiles in the XX century\",\"authors\":\"Vasyl Andriiashko, Mykola Bilyk, V. Kostiukova\",\"doi\":\"10.32703/2415-7422-2022-12-1-69-87\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article provides a thorough overview of the evolutionary process of the emergence, establishment, and development of the Kyiv school of artistic textiles. It reveals the influence of various factors (ideological, political, economic, and aesthetic) on this process. The historical and factual method allowed us to study socio-economic, as well as historical and cultural factors that contributed to the emergence, establishment, and development of the Kyiv textile school in a chronological sequence. Both separate Kyiv textile artists’ works and the differences of other schools were analyzed by the comparative method. It is established that the very fact of emergence of the Kyiv school of artistic textile, as a community of style, unity of forms, preservation, and continuity of traditions, had unbiased backgrounds since Ukrainian decorative weaving, a part of which is Kyiv weaving, inherited the abundant artistic traditions that were created over the centuries and most vividly manifested through the art of Kyivan Rus. It showed the significance of Kyiv as a major administrative and cultural center of Ukraine in the emergence and development of the textile school. The status of the capital city was the reason why prominent artistic forces concentrated there, creating several outstanding textile artworks intended for various purposes during the 1920–1990s. The ideology of the ruling Communist Party of the Soviet Union, which ordered the artworks for its glorification, had a stimulating impact on the emergence of the school. Analysis of the data allowed us to periodize the stages of emergence and development of the Kyiv school of artistic textiles as an educational institution. Typical features of the Kyiv textile school at different stages of its development in 1920–1990s are as follows: a) The presence of a plot theme, the epic breadth of the depicted scene, and the scale in monumental and decorative textiles; b) The stylization of themes, their conventional interpretation, and two-dimensional images that suggest the absence of perspective and the illusory representation of three-dimensional forms in decorative (non-figurative) large tapestries and decorative stage curtains made in various techniques; c) The preservation of established iconographic compositions created by predecessors, but performed in a new (stylistic and coloristic) interpretation in traditional textiles; d) As for the industrial textiles, the presence of two trends in the artistic design of fabrics: The first is associated with the artists’ focusing on the entire spectrum of the world (primarily European) textile fashion; The second one involves the transformation of traditional popular graphic themes in fundamentally new compositional developments.\",\"PeriodicalId\":36356,\"journal\":{\"name\":\"History of Science and Technology\",\"volume\":\"80 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-06-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"History of Science and Technology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.32703/2415-7422-2022-12-1-69-87\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"HISTORY & PHILOSOPHY OF SCIENCE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Science and Technology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.32703/2415-7422-2022-12-1-69-87","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"HISTORY & PHILOSOPHY OF SCIENCE","Score":null,"Total":0}
引用次数: 0

摘要

文章提供了一个全面的概述演变过程的出现,建立和发展的艺术纺织品基辅学校。它揭示了各种因素(思想、政治、经济、审美)对这一过程的影响。历史和事实的方法使我们能够按照时间顺序研究社会经济,以及历史和文化因素,这些因素有助于基辅纺织学校的出现,建立和发展。采用比较的方法对基辅独立的纺织艺术家的作品和其他流派的差异进行了分析。可以确定的是,基辅艺术纺织学校的出现,作为一个风格,形式统一,保存和传统连续性的社区,具有公正的背景,因为乌克兰装饰编织,其中一部分是基辅编织,继承了几个世纪以来创造的丰富的艺术传统,并通过基辅罗斯的艺术最生动地表现出来。它显示了基辅作为乌克兰主要的行政和文化中心在纺织学校的产生和发展中的重要意义。首都的地位是突出的艺术力量集中在那里的原因,在20世纪20年代至90年代,创造了一些杰出的纺织艺术品,用于各种目的。执政的苏联共产党为了美化自己而订购这些艺术品的意识形态,对这所学校的出现产生了刺激的影响。对数据的分析使我们能够将基辅艺术纺织品学校作为一所教育机构的出现和发展阶段进行分期。基辅纺织学派在1920 - 90年代发展的不同阶段的典型特征如下:a)情节主题的存在,描绘场景的史诗广度,纪念性和装饰性纺织品的规模;b)主题的风格化,它们的传统解释,以及二维图像,这些图像表明在装饰(非具象的)大型挂毯和装饰舞台窗帘中缺乏透视和三维形式的虚幻表现;c)保存由前人创造的、但在传统纺织品中以一种新的(风格和色彩)诠释的已确立的图像构图;d)就工业纺织品而言,面料艺术设计存在两种趋势:第一种趋势与艺术家关注世界(主要是欧洲)纺织品时尚的整个范围有关;第二个涉及到传统的流行图形主题的转变,从根本上说,新的构图发展。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Emergence and development of the Kyiv school of artistic textiles in the XX century
The article provides a thorough overview of the evolutionary process of the emergence, establishment, and development of the Kyiv school of artistic textiles. It reveals the influence of various factors (ideological, political, economic, and aesthetic) on this process. The historical and factual method allowed us to study socio-economic, as well as historical and cultural factors that contributed to the emergence, establishment, and development of the Kyiv textile school in a chronological sequence. Both separate Kyiv textile artists’ works and the differences of other schools were analyzed by the comparative method. It is established that the very fact of emergence of the Kyiv school of artistic textile, as a community of style, unity of forms, preservation, and continuity of traditions, had unbiased backgrounds since Ukrainian decorative weaving, a part of which is Kyiv weaving, inherited the abundant artistic traditions that were created over the centuries and most vividly manifested through the art of Kyivan Rus. It showed the significance of Kyiv as a major administrative and cultural center of Ukraine in the emergence and development of the textile school. The status of the capital city was the reason why prominent artistic forces concentrated there, creating several outstanding textile artworks intended for various purposes during the 1920–1990s. The ideology of the ruling Communist Party of the Soviet Union, which ordered the artworks for its glorification, had a stimulating impact on the emergence of the school. Analysis of the data allowed us to periodize the stages of emergence and development of the Kyiv school of artistic textiles as an educational institution. Typical features of the Kyiv textile school at different stages of its development in 1920–1990s are as follows: a) The presence of a plot theme, the epic breadth of the depicted scene, and the scale in monumental and decorative textiles; b) The stylization of themes, their conventional interpretation, and two-dimensional images that suggest the absence of perspective and the illusory representation of three-dimensional forms in decorative (non-figurative) large tapestries and decorative stage curtains made in various techniques; c) The preservation of established iconographic compositions created by predecessors, but performed in a new (stylistic and coloristic) interpretation in traditional textiles; d) As for the industrial textiles, the presence of two trends in the artistic design of fabrics: The first is associated with the artists’ focusing on the entire spectrum of the world (primarily European) textile fashion; The second one involves the transformation of traditional popular graphic themes in fundamentally new compositional developments.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
History of Science and Technology
History of Science and Technology Arts and Humanities-Museology
CiteScore
0.80
自引率
33.30%
发文量
11
审稿时长
8 weeks
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信