Репозитарій Національної академії керівних кадрів культури і мистецтв України
Графічні особливості українського друкарського шрифту (остання чверть XVI - перша половина XVIІ століть)
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Графічні особливості українського друкарського шрифту (остання чверть XVI - перша половина XVIІ століть)
Дудник, Ігор Миколайович
Дата:
2019
Короткий опис(реферат):
У дослідженні вперше комплексно розглянуто шрифтові гарнітури і систематизовано кириличні шрифти, вжиті у виданнях друкарень, які діяли на території України протягом останньої чверті XVI - першої половини XVIІ століть, а саме: Острозької/Дерманської, Стрятинської/Крилоської, львівських Братської та Сльозки, Києво-Печерської, а також мандрівних друкарень. Виявлено різновиди шрифтових гарнітур; виконано комплексний аналіз українських кириличних друкарських шрифтів останньої чверті XVI - першої половини XVIІ ст.; здійснено класифікацію шрифтів за графікою, накресленням, розміром, призначенням; узагальнено особливості типографічного оформлення видань; розглянуто місце шрифту уструктурі друкованої книжки. Дослідження формує комплексне уявлення про графічні особливості українських кириличних шрифтів останньої чверті XVI - першої половини XVIІ ст.
Суть розробки, основні результати:
The dissertation research was performed mainly on the basis of the collection of early printed books of the Vernads’kyi National Library of Ukraine. This is the first integrated overview and classification of the fonts of Ukrainian books ofthe last quarter of the XVIth and the first half of the XVIІth centuries.The objective of research was to form an integrated understanding of the graphic qualities and plastic particularities of Cyrillic fonts used in editions of printing houses which were working on the territory of Ukraine during theabove mentioned period. They include the Ostrih/Derman’, Striatyn/Krylos, L’viv Brotherhood and Sl’ozka, Kyiv-Pecherskyi printing houses and travelling printing houses.
The results received in the process of research represent scientific discovery because here for the first time the sets of Cyrillic fonts of capital and small letters used in Ukrainian early printed books are determined; the complex analysis of Ukrainian
Cyrillic type fonts of the last quarter of XVIth and the first half of XVIІth century is performed; the fonts are classified according to the graphics, pattern, size and purpose; the principles of decoration in printing houses depending on particular printing house and edition are summarized; the role of the font in the structure of aprinted book is determined. The method of visual comparative analysis was mainly used to achieve the assigned objectives of research.The main interpretations of the term “Cyrillic” are examined in the context of ‘language-writing-font’. The following conclusion is offered: the most appropriate definition is that “Cyrillic” is the alphabet which was created in the ІХth century for religious Slavic language, and which was used during the ХІ-XVIIIth centuries on the territory of Ukraine for the Old Slavic and Old Ukrainian languages, as for handwriting, so as for type fonts. Cyrillic palaeographic terms, such as ustav, half-ustav, cursive, ornamental script, are examined separately.The fonts used in editions of particular printing houses are analysed in details. It is established that Ostrozkyi graphics reflect the certain competition of two concepts: cursive and half-ustav, which originate from office handwriting and the styles of manuscripts. Ostrozkyi cursives were so popular among contemporaries that copies were made in the printing houses of Kyiv and L’viv.The Striatyn and Krylos fonts differ from Ostrozkyi fonts in the graphic features used. The main part of the Ostrozkyi fonts were created on the base of office handwriting; they may be classified as belonging to the category of half-ustav-cursive fonts. Striatyn and Krylos fonts are based on half-ustav and ustav styles and probably originate from formal writing of manuscripts. The large-size font of the Missal (1604), created on the base of ustav graphics, is especially outstanding.The fonts of the L’viv Brotherhood printing house and the private printing houses of M. Sl’ozka and A. Zhelibovs’kyi had several design styles. The cursive trend was inherited from Ostrozkyi cursives of early and late periods. The half-ustav trend originated from two sources: the Krylos font, Vilenskyi and Ostrozkyi Gospel fonts. The antique font is a particular feature of early L’viv editions.The activity of the Kyiv-Pecherskyi printing house is clearly divided into two periods, 1616-1632 and 1633-1650, as a result of the influence of two factors: significant changes in the structure of workers in the printing house and the shifting of focus in font use from Cyrillic to mainly Latin fonts.The fonts of Kyiv-Pecherskyi printing house are analysed. They include all the Striatyn fonts which came to Kyiv, a close copy of the Ostrozkyi cursive and three original Kyiv fonts: two half-ustav fonts and one small cursive.The fonts of editions of the so-called travelling printing houses were examined, in particular, the fonts of printing house of P. Liutkovych, who worked in the Ugortsi, Minsk, Chetvertyn, Luts’k, Chorna; the fonts of the printing house of K. Stavrovets’kiy, who worked in Pochaiv, Rokhmaniv and Chernihiv; and the fonts of two private publishers from Kyiv: S. Sobol’, who travelled with his printing house to Belarus, and T.Verbyts’kyi, who travelled to the region of Wallachia The practical value of the results of the research undertaken consists in the possibility of using materials of this work in development of courses of lectures dedicated to the history of Ukrainian graphics and books. The results of research may also be used as theoretical and historical material in teaching in educational institutions in the area of the arts, in particular, for graphic artists. The issues of sources of Ukrainian fonts, examination of historical heritage, determination of particularities of the Ukrainian art of printing and shape of letters are extremely important at present; they can be an important original Ukrainian contribution to the treasury of world culture. This research aims to clarify a certain period in the history of Ukrainian fonts and to determine the prospects of using this font heritageby art historians and historians of design in preparation of lectures and educational programmes, as well as contemporary font designers in the creation of historical reconstructions and modern interpretation of typefaces, based on historical heritage.
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