Українське мистецтво в дослідженнях представників харківської мистецтвознавчої школи першої третини ХХ століття

Іваненко, Світлана  Олександрівна

dc.contributor.author	Іваненко, Світлана Олександрівна
dc.date.accessioned	2020-12-03T11:20:53Z
dc.date.available	2020-12-03T11:20:53Z
dc.date.issued	2018
dc.identifier.citation	Іваненко С.О. Українське мистецтво в дослідженнях представників харківської мистецтвознавчої школи першої третини ХХ століття : дис. на здоб. наук. ступеня канд. мистецтвознавства за спеціальністю : Теорія та історія культури (мистецтвознавство) / С. О. Іваненко ; М-во освіти і науки України. ДВНЗ «Прикарпатський національний університет імені Василя Стефаника».– Івано-Франківськ, 2018. – 320 с.	uk_UA
dc.identifier.uri	http://elib.nakkkim.edu.ua/handle/123456789/2435
dc.description	The scientific novelty of the dissertation is that in the dissertation research the problems of Ukrainian art in the scientific heritage of Kharkiv art critics have been considered for the first time as a separate scientific problem; little-known facts and names of scientists, that influenced on the formation and development of Kharkov School of art criticism have been introduced to scientific circulation; publications of scientists devoted to issues of Ukrainian art have been collected, systematized and analyzed ; on the basis of the analysis of the scientific heritage of representatives of Kharkiv school of art criticism the priority issues in the history of Ukrainian art have been determined; a number of scientific topics that in the late nineteenth century − in the first third of the twentieth century were considered as relevant, have been identified. In the dissertation work scientific works of Kharkiv art critics have been systematized. It is established that the formation of Kharkiv art-study center started with the first half − the middle of the 19 th century on the basis of the Imperial University, where foreigners were the first teachers who developed among students a love to history of art. It is determined that at the turn of 19th – 20th centuries the formation of art studies as an academic science is in the making and the systematic teaching of the history of arts begins. It is emphasized that the culmination of the development of the Kharkiv art history school is the scientific activity of F. Schmitt, which led to the formation of a galaxy of Kharkiv art historians. In addition, it is noted that the history of arts was taught in other institutions of Kharkiv, where Kharkiv scholars worked in the pedagogical field. In particular, the main field of scientific activity of O. Kirpichnikov − the history of Orthodox fine art; of E. Redin - Old Russian and Old Ukrainian Religious Art (icon painting); of M. Sumtsov − Ukrainian sacred art, T. Shevchenko's creativity and contemporary art; of A. Bieletski – features of the South-Russian Art of XVI−XVIII centuries., creativity of Taras Shevchenko, scientific achievements of E. Redin; of P. Fomin − Church antiquities and religious painting of Slobozhanshchyna; of F. Schmidt − Ukrainian and Old Russian Art. He developed the concept of the origin of Ukrainian art and eventually began to study the theory of art. The scientific heritage of representatives of Kharkiv art history school has been analyzed. Representatives of the "older generation" primarily engaged in the study of ancient, medieval and domestic art. Their scientific developments have not yet general conclusions, but only those research steps that will be important in the future for solid scientific works: description, chronology, systematization, analysis, etc. F. Schmitz students became famous scientists, who by their scientific developments greatly enriched Ukrainian art studies. The main areas of their researches were regional and ancient Russian art, arts and crafts and Ukrainian art of the 20th century, as well as the artistic process of the 20th century. In addition, the art-study research of students S. Taranushenko and other art historians of Kharkiv) have been analyzed. Thus, S. Taranushenko studied Ukrainian art, in particular, the art of Slobozhanshchyna (XVII−XVIII centuries), the works of Taras Shevchenko and contemporary art; D. Gordeyev − architectural monuments (Kharkiv), collections of historical relics, antique items and contemporary art; E. Berchenko − folk decorative painting and Petrikivska paintings; O. Berladina − Ukrainian hapting, ornamentation of folk costumes and liturgical sewing; V. Biletska − national clothes; M. Leiter - sights of medieval art on the territory of Ukraine; T. Ivanovska - art of the eastern regions; S. Stepanova - wooden crosses and their ornamentation. The art studies works of scholars of S. Taranushenko and other scientists of Kharkiv have been analyzed. It has been found that P. Zholtovsky researched Ukrainian architecture, folk art, manuscripts and ancient books, icons and iconostases; M. Zubar - monumental painting, graphic art and works of domestic artists; M. Schepotyeva - folk art; D. Chukin - creativity of Ukrainian artists; In the dissertation work it is clarified that the study of the development of Kharkiv art-study center of the first third of the 20th century is relevant for today in the framework of domestic and foreign art studies. It is stressed the significance of the scientific heritage of Kharkiv art historians in the context of development of the national art history of the first third of the twentieth century and it is proved that the scholarly works of Kharkiv scientists have greatly deepened knowledge of Ukrainian art. The main provisions of the dissertation can be used in educational activities. In particular, they can be used in writing art studies and developing of programs for courses related to the history of art studies.	uk_UA
dc.description.abstract	Дисертація присвячена вивченню наукової спадщини представників харківської школи мистецтвознавства першої третини XX ст. У ній вперше розглянуто проблематику українського мистецтва в науковій спадщині харківських мистецтвознавців як окрему наукову проблему; введено до наукового обігу маловідомі факти та імена науковців, які вплинули на розвиток харківської мистецтвознавчої школи; на основі аналізу систематизованої наукової спадщини вчених з’ясовано пріоритетні для харківської школи мистецтвознавства проблеми історії українського мистецтва, визначено коло тем, які на межі ХІХ–ХХ ст. набули актуальності. З’ясовано, що дослідження розвитку харківського мистецтвознавчого осередку першої третини ХХ ст. є актуальним у межах вітчизняного та зарубіжного мистецтвознавства та доведено, що наукові праці харківських вчених поглибили знання про українське мистецтво. Основні положення дисертації можуть бути використані у навчальній діяльності; при написанні мистецтвознавчих праць та розробці програм спецкурсів з історії мистецтва, художньої критики та мистецтвознавчої освіти.	uk_UA
dc.language.iso	uk_UA	uk_UA
dc.publisher	ДВНЗ «Прикарпатський національний університет імені Василя Стефаника»	uk_UA
dc.subject	мистецтвознавство, давньоруське мистецтво, візантологія, сакральне мистецтво, архітектура, репресії	uk_UA
dc.title	Українське мистецтво в дослідженнях представників харківської мистецтвознавчої школи першої третини ХХ століття	uk_UA
dc.title.alternative	Ukrainian art in research of representatives of Kharkiv art studies school of the first third of the 20 th century	uk_UA
dc.type	Other	uk_UA