Chudnivets A. Petrykivka Painting as a Phenomenon of Ukrainian Culture

The thesis investigates peculiarities of the development of Petrykivka painting, its stylistic changes in the context of cultural dynamics, its integration as a nation-uniting component into contemporary art, its role in the social and cultural space of Ukraine. Petrykivka painting emerged as a type of mural painting in rural houses in the middle of 19th century (modern Dnipropetrovsk region). In the dissertation highlights the work and contribution of O. Statyva in the field of preservation, promotion and development of Petrykivka painting. He organized the participation of female craft artists T. Pata, N. Bilokin, Y. Pylypenko in the First Republican Exhibition of Folk Art in 1936 and founded the School of Decorative Art in Petrykivka. A significant part of the investigation is devoted to the work of F. Panko in implementing new approaches to the application of Petrykivka painting, making it a professional skill and putting it on a manufacturing scale. At the same time he also facilitated the reinvention of traditional techniques and styles of this art. Much attention is paid to creative work of the Petrykivka artists, which formed of the "Kyiv group". The research also contains an analysis of the developmental stages of Petrykivka painting and its kinds. The typology of the Petrykivka main elements is defined, and the means of artistic expression are described. The changes in the styles of the leading artists as a sign of adaptation to the demands of the times are analyzed, and the proportion of tradition and innovation in regards to the changes of the cultural environment is defined. The prerequisites of integration of "Petrykivka" and its modifications into contemporary art as an element of national identification are rationalized. Citation of existing works of art becomes the most commonly used means in the integration of Petrykivka painting into the new artistic context. The approaches to the application of Petrykivka painting in the architectural and spatial environment are characterized. It is also determined that the modification of Petrykivka painting arose from its representation on international, national and regional exhibitions. To continue its existence in the modern world, Petrykivka drops its utilitarian character, singles out as art in its own right, acquires mobility, is drawn to meaningfulness, communication, and uses numerous forms of postmodern presentation. An analysis of functional modifications of Petrykivka painting is carried out with the following conclusion that in relation to the integration of Ukraine into the global cultural space Petrykivka painting is becoming a certain national brand. And in Ukraine it remains an important factor of cultural integration and national identification.