Мистецтво дибинецької кераміки в художній культурі Київщини ХІХ–ХХ століть

Руденко, Олександра Олександрівна

Мистецтво дибинецької кераміки в художній культурі Київщини ХІХ–ХХ століть

Руденко, Олександра Олександрівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2348

Date: 2020

Abstract:

У дисертації досліджено мистецьку своєрідність культури формотворення й особливості оздоблення творів дибинецьких керамістів ХІХ–ХХ ст. Проведено мистецтвознавчий аналіз виробів дибинчан із музейних і приватних збірок України. За першоджерелами висвітлено роль цехової організації праці та промислового виробництва фаянсу у формуванні специфіки художньої мови гончарів Дибинців. Проаналізовано п’ять етапів існування керамічного промислу осередку. Здійснено типологію дибинецьких виробів за їх функціональним призначенням, розглянуто особливості розписів та орнаментальних мотивів. Складено реєстр майстрів Дибинців ХІХ–ХХ ст., визначено індивідуальні риси творчого почерку найяскравіших із них. Окреслено місце дибинецької кераміки в художній культурі Київщини на тлі розвитку інших осередків гончарства Середньої Наддніпрянщини.

Description:

The artistic identity of the culture in terms of shaping and decoration individuality of the Dybyntsi ceramic works of the 19th–20th centuries were researched in this dissertation. The local specificity of the artistic and figurative language tools of the Dybyntsi ceramists of that period was determined, and the factors that influenced the formation and development of their original pottery tradition in the context of the artistic culture of the Kyiv region were identified. The dissertation reviews scientific works of Ukrainian and foreign scientists providing information about the development of pottery and the artistic originality of ceramics in Dybyntsi. In the context of the outlined topic, the most significant are the achievements of L. Danchenko, M. Ionov, M. Kazakov, O. Klymenko, Y. Lashchuk, F. Lebedyntsev and O. Shkolna. However, the available research sources focus on particular aspects of the activity of this illustrious pottery branch in the Kyiv region, not revealing the essence of Dybyntsi ceramics in its interconnections. The archives of primary sources which reveal various aspects of the activity of the local pottery religious guild brotherhood, the Dybyntsi faience factory of Counts Branicki and the community craft in general, were studied. The role of the craft shop processes organization and industrial production culture of producing the elite fine ceramics in forming the specificity of the artistic language of the Dybyntsi masters was outlined. Due to the work of a faience factory, in the first half of the 19th century, in the village, there was a close interaction between the cultures of three different social strata of the Dybyntsi population, namely local serfs, free foreigners and noble elites (the rulers and owners). The results of the symbiosis of industrial and folk cultures in ceramics creation were embodied in the interpenetration of particular traditions of molding, plastic modeling and decoration of products. The periodization of the Dybyntsi pottery guild has been determined, and the cultural, artistic, social, economic, handicraft and managerial aspects of the five stages of its existence have been characterized. The Ukrainian museum collections with works of the Dybyntsi masters were reviewed, and the art historical analysis was performed afterward. In the dissertation the assortment of ceramists’ works of Dybyntsi of the 19th–20th centuries is systematized, and the typology of pottery production by functional purpose is distinguished. The most distinctive features of the local culture of shaping are determined, as well as the characteristic forms of Dybyntsi products. The artistic principles of terracotta decoration are explored, as well as solid glaze products, works decorated with under-glaze contouring and non-contoured painting with the technique of cone, marbling or flanging, ceramics with plastic modeling of specific structural parts, sculptural elements and reliefs. The characteristic motifs of the Dybyntsi majolica paintings are defined. They include floral, geometric, zoomorphic, ornithomorphic, skeuomorphic elements of drawing and signatures. The role of heredity of pottery traditions in the development of the local artistic originality of the Dybyntsi works of the 19th and 20th centuries is outlined by tracing the dynastic connections between famous masters. The designer traits of individual creative style of potters from families of Masyuk, Tridid, Morgun, Harnaha, Vovchenko, Slokva, Voloshenko, Tarasenko, Rodak, I. Knyzhnyk, A. Shnurenko, E. Protsenko, A. Startsevoy, T. Tsyurupa, S. Syvolap are analyzed. The general register of ceramists of Dybyntsi of the studied period is made. The role of Dybyntsi ceramics as a component of the artistic culture of Kyiv region in the context of the development of other centers of pottery of the Middle Dnipro region is identified.

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