The purpose of the article is to review portrait miniatures in museum collections as a refined art of the 16th – 19th centuries, which is closely related to the history of monarchs and aristocracy. It also reflects the aesthetic preferences of customers of portrait miniatures, artistic trends in the outlined period and scientific and technological possibilities of miniatures production. The research methodology consists in applying a number of approaches. The method of source analysis was used to analyze the literature on the topic of the article. An interdisciplinary analysis, in particular biographical and cultural research methods, came in handy when studying actual material. The historical approach and theoretical generalization made it possible to formulate conclusions and highlight the prospects for further development of the topic. The scientific novelty consists in the examination of portrait miniatures of museum collections as a component of cultural heritage and an important pictorial document of the cultural history of Europe in the 16th-19th centuries. Conclusions. As a separate form of art, portrait miniature in European countries, primarily in England, began to take shape in the 16th century, reaching its apogee in the 18th century. and, unable to withstand competition with photography, became part of the historical and cultural heritage. At the beginning of the 19th century, we observe the popularity of portrait miniatures in America, where this form of art has become quite a profitable business. The article focuses on the fact that initially portrait miniatures became parts of the collections of the customers themselves. Subsequent generations of collectors formed more extensive collections of works of art, among which portrait miniatures served as part of a large artistic complex. Such collections include the collection of Rosalind and Arthur Gilbert the Victoria and Albert Museum in London, the collection of portrait miniatures of the Vinnytsia Regional Art Museum. It is also important from the point of view of the connections between the cultural history of Ukraine and the European context.
The purpose of the work is to investigate the topic of Ukrainian military history in the historical-battle painting of A. Kholomeniuk; analyse the main cycles and their plot, imagery, author's interpretation. The research methodology consists in the application of the historical-chronological method, comparison and generalisation, art analysis, with the application of the principles of systematicity and historicism. The scientific novelty of the study consists in the systematic generalisation and analysis of the artistic works of the famous artist-battalist A. Kholomeniuk, which reproduce various historical periods of the military history of Ukraine, mainly the late Middle Ages and the Cossack region. Conclusions. As a result of the conducted research, it was established that in his work A. Kholomeniuk addresses various topics and plots of Ukrainian military history, among which the large cycle of works "The Khotyn War of 1621" (approx. 80 paintings) occupies a prominent place, which serves as a kind of pictorial encyclopaedia of Ukrainian Cossacks. A. Kholomenyuk's battle paintings have a distinct author's style of painting, with an expressive manner and play of colour, light and shadow, characterised by perfect composition and a deep study of historical details and context. The battle-historical works of A. Kholomeniuk belong to the important examples of modern Ukrainian historical-battle painting, which vividly reflects Ukrainian military themes.
Keywords: A. Kholomeniuk, battle-historical painting, battle studies, historical themes, military history of Ukraine, Cossack period.
The purpose of the article is to study the diversity of elements of traditional Ukrainian clothing and their symbolic content in the folklore of the Cossack period; to conduct a substantive analysis of folk art samples in terms of their classification and references to the component parts of the costume. The research methodology is based on an interdisciplinary approach. To solve the tasks set, a number of scientific methods were used, namely: historical and chronological, method of comparison and generalisation, art historical analysis, using the principles of systematicity and historicism. The source base was the heritage of Cossack folklore – lyrical, epic, and lyric-epic works. Scientific novelty. The folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – was studied in view of the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the integral set of clothing performs utilitarian, aesthetic, ritual, ethno-patriotic, and other functions. This applies to such common costume components as shirt, hat, belt, outerwear, and shoes. They were not only everyday items but also symbols of individual events in Cossack life. Conclusions. The analysis of the national folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – has testified to the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the complete set of clothing plays utilitarian, aesthetic, ritual, ethnopatriotic, and other functions. It has been found that references to such elements of traditional clothing as headwear, underwear and outerwear, jewellery and footwear were used by the people in songs, dumas, legends, fairy tales, proverbs, and sayings to emphasise social status, romanticize, and heroise characters and events.
Key words: folk costume, traditional clothing, ritual, Cossacks, Cossack folklore, oral folk art.
The article is about military awards Ukrainian armed forces during the Liberation struggle of 1917-1921. Analyzes the circumstances of the application and the differences in the army. Emphasizes that developments Ukrainian People's Republic served as the basis for creating award system of independent Ukraine. ; Статья посвящена проблематике военных наград украинских вооруженных сил периода Освободительной борьбы 1917-1921 гг. Анализируются обстоятельства возникновения и применения отличий в армии. Подчеркивается, что наработки Украинской Народной Республики послужили основой для создания наградной системы независимой Украины. ; Стаття присвячена проблемі військових нагород в українських збройних силах періоду Визвольних змагань 1917-1921 рр. Аналізуються обставини виникнення та застосування відзнак в армії. Зазначається, що здобутки Української Народної Республіки стали основою для опрацювання нагородної системи незалежної України.
Military symbols of Ukraine rightfully became the subject of attention of historical science, because it has its own very rich history and tradition. The degree of development of military symbolism scientific topics and its source base proved insufficient and fragmented study the problem of the formation and development of military symbols of Ukraine, which further confirms its relevance. In historical science confirmed the view that symbolism in one form or another form appears at the peniaeb of the emergence of stable social groups. One of the brightest pages of national history is the Scythian period. Researchers touched one another on symbolism troops Scythians. Their works can show scattered descriptions of folk customs and traditions, formed the basis of the Scythian military symbols. Scythian army attributes were intended to symbolize the position of military officers in the military organization. The symbol of the various levels of government were specific headwear, pectoral or rate, precious axes, maces and shestoper. The main axes could be a sign of power or sticks commanders. Clubs and shestoper played sacral and representative role. They were a symbol of high social status of their owners. At the Scythians brought the sword oath. Scythian military badges on long poles were used to control the units in battle. So, the Scythians used in its military activities symbolism, based on their perception of the construction world. Actually most characters are taken from the life of the Scythians and inscribed in the traditions and customs. They have functional character. Use symbols to denote troops observe in times ancient. Increasing the number of sources, both written and archaeological, allow you to more fully reflect the symbolism reconstruct this historical period. At its core lay princely signs that they did in the arms, flag, stamps, Pasach, pendants men, pottery, household items stock, minted on coins and more. Princely characters played the role of individual characters of a particular ruler, and at the same time, tribal representatives dynasty emblems, signs of ownership, and in a sense – and attribute authority or government emblems. At the military symbolism of Ancient important place was given to the flag. Military flags in IX-th century performed a number of important functions. They were used primarily as symbols: the rule of the country, capture the fortress or city, location commander. Flags were of great importance in all phases of military operations. Further development of the Ukrainian symbolism associated with the period of stay of the former territory of ancient in the Grand Duchy Lytovment and the Kingdom of Poland and later – under the authority of the united PolishLithuanian Commonwealth – Commonwealth. No wonder the mid XIV century development of Ukrainian symbolism underwent major influences Lithuanian and Polish heraldic traditions. A new stage in the development of Ukrainian military symbolism is closely linked with the emergence of the Cossacks and his military and political organization – Zaporizhzhya Sich national liberation struggle of the Ukrainian people and the emergence of Cossack state in the middle of the XVII century. By Cossack watches kleynod , it characters troops belonging to the regimental flags and Centesimal icons hetman horsetail , military music – drums and attributes of power Cossack – mace captains , colonels pernachi , canes military judges, clerks ink. Among the Cossack watches kleynod prominently occupied with military flags. Prapornytstvo of the Zaporizhzhya and Zaporizhzhya Sich was difficult path of evolution. Originally symbolism of flags was the basis of heraldic symbols of the Polish- Lithuanian Commonwealth – Commonwealth. Later, the Russian Cossack banners appear, Austrian, Turkish state symbols. Only after the final transition of Ukrainian Cossacks under Russian rule in the eighteenth century developed a mostly well-established symbols of flags. Thus, it should be noted that the symbols of Ukrainian Cossacks objectively dependent on socio-political processes taking place in the territory of contemporary Ukraine. It is closely linked to the cultural traditions and religious preferences of Ukrainian Cossacks and people in general, basically reflecting the traditions of Orthodoxy. The need for a revived Ukrainian symbolism emerged during the national liberation revolution of 1917-1918. Have three etapy process of elaboration and development of civil and military symbols. The first – period Tsentralnoyi Rady from 20 november in 1917 to 29 April 1918. This chas changes in military form are neznachni. The second etapy – Hetmanat P.Skoropadskoho period from 29 April to 14 December 1918 was work major efforts to create a uniform for Ukrainiane army. This period was actually processed awarding system Ukrainian state. In the third period – the period Directoria (end of 1918-1920) Main characteristic of this period is the elaboration and implementation of military awards military flags military units. During the domination of the Soviet Ukraine, actually for Ukrainian national character symbolism in general, and the military in particular, have evolved abroad. First, in the camps of the army soldiers interned Ukrainian People's Republic and later in areas where Ukrainian in exile. On the territory of Ukraine, which was under the rule of the Soviets, was devoid of symbols of national colors. Another period of Ukrainian military symbolism falls on the Second World War. In 1938 appears Carpathian Ukraine and its military force Carpathian Sich. The system of military symbolism Ukraine story symbolism of the military establishment is as important as providing an explanation of the origin and traditions of the use of such elements as the Ukrainian military costume hat mazepynka, cotillion and others. Also during World War II and until 1956 operated Ukrainian Insurgent Army. The basis of its symbolism was taken trident symbol as the emblem of the state and the yellow – blue armbands flag colors , ie symbols of Ukrainian statehood. However, the colors of the flag of the army were red and black. These colors were the basis of awards UPA. ; Статья посвящена историческим аспектам развития военной символики Украины. Рассматриваются культорологические, мировоззренческие и религиозные основы символики в контексте исторических трансформаций общества, в частности Древних времен и Средневековья. Утверждается непрерывность народных традиций в выборе символов Украинского государства и его вооруженных сил. Анализируется историография и источниковая база темы научного исследования. Доказывается, что в разработке символики Вооруженных сил и других военных формирований Украины за основу были взяты классические законы геральдики, специальных исторических дисциплин, лучшие образцы культуры украинского народа. ; Стаття присвячена історичним аспектам розвитку військової символіки України. Розгля- даються культурологічні, світоглядні та релігійні основи символіки у контексті історичних трансформацій суспільства, зокрема Стародавньої доби та Середньовіччя. Стверджується непе- рервність народних традицій у виборі символів Української держави та її війська. Дається характе- ристика історіографії та джерельної бази теми наукового дослідження. Доводиться, що за основу в опрацюванні символіки Збройних сил та інших військових формувань України бралися класичні за- кони геральдики та спеціальних історичних дисциплін, кращі зразки минулого, які відповідають ста- родавнім корінням українського народу.
Military Historical Almanac of the National Military History Museum of Ukraine since its publication in 2000,much attention is paid to the problems of Ukrainian military symbols. Each issue of the journal edited determined topublish material on issues of heraldry, faleristics, veksylolohiya, emblems or uniformistyky. Materials placed in theanthology dedicated as a historical aspects Ukrainian symbols and symbolism of the Armed Forces of Ukraine and other military formations modern period.The historical aspects of Ukrainian symbols include articles Sokyrko Alexei, Vladimir Panchenko, Nina Kovtanyuk, Nicholas CHMYR, T. bayonet, Andrew Rukkasa, Viktor Karpov, Vitaly Manzurenko, Joan Denysyuk, MikhailKovalchuk and others.To the problems of the state known scientists turned symvoliky Dmytrienko Maria and Yuri Savchuk. Their scientific exploration relates to discuss the question of the Great State Emblem of Ukraine. A large amount of publications on symbolism refers to the period of the Liberation Struggle 1917 – 1920 years. One of the first material of uniform Ukrainian army and its symbols during this period published Victor Karpov. In their study, Taras Bayonet addresses the problem of formation of the Black Sea Fleet Ukrainian state. Against this background, it reveals the process of becoming a Ukrainian naval symbols. Continuing the theme of Ukrainian military prapornytstva, edition published material Andrei Rukkasa description of icons for linear 4th Infantry Brigade.The development of modern Ukrainian faleristics Military History Almanac pays no attention. Publishes materialson the implementation of state and departmental awards. This issue devoted their portfolio Stepan Paholko, Olga Martin, Vitaly Manzurenko Alexander Kucheruk Andrew Rukkas. Materials about state awards of independent Ukraine and symbols of modern Armed Forces of Ukraine Victor served Buzalo, Alexander Vorobyev, Viktor Karpov, Alexander Scriabin, Igor Chichkan Ludmila Bayati, Jeanne Denysyuk Yuri Shapoval, Nicholas Tsarenko.Editorial Almanac paid attention to the problems of formation and development of symbols and other militaryunits, including the symbolism of the Border Troops of Ukraine, Security Service of Ukraine and the State Service for Special Communication and Information Protection of Ukraine.General activities of the Military Historical Almanac, popularized the formation and development of the Ukrainianmilitary symbols. Printed materials cover a wide range of issues, reflecting the processing of symbols in uniformolohiyi, faleristics, veksylolohiya, emblems and heraldry. This made it possible to show the historical symbolism of the processing of the Armed Forces and other military formations Ukraine. It is this Military Historical Almanac is a valuable source in the study of military symbolism Ukraine. ; В статье проанализирована редакционная политика Военно-исторического альманаха в освещении проблем развития геральдики, фалеристики, вексилологии, униформистики, эмблематики и символики в их военномаспекте. Показано, что альманах является важным источником исследования истории становления государственной и военной символики Украины. На его страницах публиковались результаты научных исследований ведущих специалистов отрасли. ; У статті проаналізовано редакційну політику Військово-історичного альманаху у висвітленні проблем розвитку геральдики, фалеристики, вексилології, уніформістики, емблематики та символіки у їх військовому аспекті. Показано, що альманах є важливим джерелом дослідження історії становлення державної та військової символіки України. На його шпальтах публікувалися результати наукових студій провідних фахівців галузі.
The article analyzes the process of becoming veksylolohichnyh traditions of the Cossack state (XVI – XVIII). Ukrainian Cossacks represented the Armed Forces of Ukraine in the XVI – XVIII centuries. Formed on the basis of state-forming forces (first Zaporizhzhya Bazavluk January 1590 – in 1638 and Cossack State Khmelnytskoho 1648 – 1657) from the end of the XVI century. became known Zaporizhia Army. By Cossack watches KLEYNOD, that character troops pertained regimental flags, centesimal icons hetman Bunchuk; Military music – drums; Cossack attributes of power – mace Hetman, colonels pernachi; Rush military judges, clerks ink.At first glance, this vast list of subjects for understanding and have irregular, random. But it reflects a concept, general requirements and aspirations to develop their own Cossack culture of the people – writing (scribes ink), Justice (Rush military judges), spirituality (music – drums), state (attributes Cossack power – mace Hetman, colonels pernachi) and Orthodox state (flags with symbols that reflect the essence of the aspirations of the Ukrainian Cossacks).History of prapornytstva Cossack army and origin veksylolohichnyh tradition meets the basic stages of formation of the Cossack state. Note that in pervogo Cossacks flags received. The emphasis on the fact of receipt of flags from different sources – from kings of the Commonwealth or of Muscovy, Russian Empire, the Ottoman Empire, Crimean Khanate, the Habsburg Empire, and even both at once a sign of their presence on the content of a pattern. Hiring of the European, and not just the Army, Cossack detachments received flags as symbols of mercenary. This shows the impact on the development of the Cossack state's own system of symbols in prapornytstvi other traditions of Ukrainian Cossacks – European, Moscow, Asian. During the Liberation War XVII. Cossack regiments at their own expense "stroyily", ie produced their flags of various sizes, formats and colors.So awarded the Cossack army flags of other countries have symbols of states and wore a sign of subordination, membership Cossack troops those countries. Cossacks honor bestowed flags. However, they had their own preferences, which were based on folk traditions. It turned out well during the war, proving the historical sources and preserved in museums originals flags.Significant prosperity acquired Ukrainian military in prapornytstvo legendary Cossack hetman day of the second half XVII. During the long years of constantly enrich, strengthen national features in form and content, the creation of regimental, centesimal banners, flags for military campaigns. Among the heraldic symbols that they used the Cossacks on their banners – sun, moon, crescent, six-, seven-, vosmykonechni stars, weapons, circles depicting saints. As an example, the 36 flags of the regiments Zaporozhian first half of the seventeenth century. Image 9 times find Michael, Theotokos – 8, Nicholas – 7, George – 3 [16, 747].Obverse and centesimal regimental flags had been a new logo – knight Cossack with a gun in yellow (golden) shield on a blue field panel, reverse – regimental or squadron emblem corresponding to the specified color image. Only after the abolition in 1764 Cossack with a gun disappears from government seals, but later appears as a sign of the Kuban Cossacks Black Sea [33, 11].Prapornytstva Cossack traditions have evolved and during the eighteenth century. In 1709 Cossack regiments and Cossacks huts that remained loyal to Ivan Mazepa, had their own flags, "Eagle archangel and Ukraine Zaporozhye povivaly of the army" [32, 128]. In 1712 Peter I issued the act whereby regiments had flags to produce the Armory in the Kremlin. In the Cossack prapornytstvo all nastiylyvishe penetrates Moscow heraldic tradition. During the second half of the XVIII century. to some extent continued "unification" colors and images on the banners of Cossack regiments. It can be explained by the design of the Cossacks as a specific part of the Russian army at the time, which contributed to relative institutionalization flags samples for this kind of armed forces. In the second half of the eighteenth century. there was an established system images on regimental and centesimal signs: national emblem – the double-headed eagle, the national emblem – a Cossack with a musket and arms of regimental and centesimal cities. Striking evidence of this is the flag Domontovskloyi hundreds Pereyaslav Regiment [1, 283].Thus, the Cossacks historiography symbols indicates the presence of sufficient historical sources and artifacts that reveal the theme of the origin and development veksylolohichnyh traditions of Cossack troops in XVI – XVIII centuries. Symbols Cossack state, which found reflection in the flags passed a difficult way of evolution. First, the foundation were taken heraldic symbols of the Polish-Lithuanian state – the Commonwealth. Later in the Russian cossack banners appear, Austrian, Turkish state symbols. Employing Cossacks for military campaigns, monarchs gave them jewelry, which then remained in the camp. This stage of the use of symbols of the protectors. During the Liberation War 1648 – 1654 рр. Cossacks produced their own idea of symbols and colors flags, flags of different colors used with the image of stars, crosses, month, or hetman territorial emblems. The second half of the eighteenth century. became Ukrainian Cossack era heyday own prapornytstva. ; В статье анализируется процес становления вексилологических традиций Казацкой державы (XVI–XVIII ст.). На основе историографии доказывается, что на вексилологию казацкого войська имели влияние традиции Европы, Московского царства и Османской империи. Вместе с этим утверждается, что вексилологические традиции казачества приобрели черты самостоятельного явления, базирующегося на культурных основах украинского народа. Этот процесс полностью зависел от конкретных исторических обстоятельств развития Казацкой державы. ; У статті аналізується процес становлення вексилологічних традицій Козацької держави (XVI–XVIII ст.). На основі історіографії означеної наукової проблеми доводиться, що на прапорництво козацького війська мали вплив вексилологічні традиції Європи, Московського царства та Османської імперії. Водночас стверджується, що вексилологічні традиції козацтва набули самостійних рис, що базувалися на культурних засадах українського народу. Цей процес цілком залежав від конкретних історичних обставин розвитку Козацької держави.
The purpose of the work is to investigate the thematic orientation of the historical genre in the work of O. Poltavets-Huyda as a representative of the modern Kyiv school of painting. 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 allowed to consider the works of painting of the historical trend in the artist's work. The scientific novelty of the work lies in the fact that for the first time the work of the modern artist O. Poltavets-Huyda became the subject of a scientific study, within which the genre and stylistic features of the series of works by O. Poltavets-Huyda "From Ukrainian Antiquity" (1998-2001) were analysed and revealed), a historical portrait in the series of works "Portraits of Contemporaries and Prominent People of Ukraine (2000-2001), other works covering different periods of Ukrainian history. Conclusions. As a result of the conducted research, it was established that O. Poltavets-Huyda belongs to the generation of modern representatives of easel painting of the Kyiv art school. The creative work of the artist includes, among other things, works of a historical genre orientation, representing the thematic picture of the Cossack period in the series of works "From Ukrainian Antiquity", as well as other works: "People's Avengers", "Grand Duke's Hunt in Russia" (both 1980), "Oath of I. Mazepa for loyalty to Ukraine" (2012), "Portrait of Pylyp Orlyk, creator of the First Constitution of Ukraine" (2012), "Will. Dignity. Eternity" (2016). Plot-wise and thematically, in her works, O. Poltavets-Huyda focused on presenting a holistic image of a historical personality, conveying the character and aristocratic features of outstanding figures of history and culture, as well as contemporaries. The work of O. Poltavets-Guyda belongs to the samples of the Kyiv school of Ukrainian historical painting, representing the author's decoding and interpretation of significant historical events and figures from different periods of Ukrainian history.
Keywords: historical painting, Kyiv school of painting, O. Poltavets-Huyda, Kyiv Art Institute, thematic historical painting, historical portrait, historical figures.
