ABSTRACT
Nataliia Deryhuz. Levkas in the fine art of Ukraine at the end of the 20th — beginning of the 21st century: traditions, synthesis, reflections of martial law. – Qualifying scientific work as a manuscript.
Thesis for a scientific Degree of Doctor of Philosophy (PhD) in specialty 023 "Fine Arts, Decorative Arts, Restoration". – Kharkiv State Academy of Design and Arts, Kharkiv, 2024.
This dissertation is devoted to the study of the role of levkas in the fine art of Ukraine at the border of the 20th and 21st centuries. The main areas of her research are the issues of tradition, synthesis, innovation and artistic reflections of martial law. The main factors complicating the study of the use of levakas in Ukrainian art are highlighted in the introduction to the study, namely: the lack of scientific works in this field, the variability of interpretations of the term "leukas", the variety of chemical and physical characteristics of levakas and its synthetic substitutes. The creativity of the Western Ukrainian school and how levkas manifests itself in other stylistic directions are analyzed. On the basis of the research, it was established: 1) the direct dependence of the main formative and conceptual principles of modern religious painting on the basic principles of traditional icon painting; 2) interdependence and mutual enrichment of modern levkas painting and achievements of various types of folk (decorative and applied) art, as well as other crafts and traditions of Ukraine; 3) a characteristic tendency to search for new forms of representation of works; 4) the dominant manner of revealing the topic through the prism of such diverse artistic trends as: abstractionism, naivety, minimalism, expressionism, etc.; 5) if the Western Ukrainian school actualizes the principles of traditional levkas, then sacral painting on levkas tends to interpret levkas as an artistic principle, which leads to the replacement of traditional levkas with its synthetic counterparts. Considered options for combining levakas with various types of art, techniques, materials, artistic strategies and styles, among which we can single out: interspecies synthesis, technical-technological synthesis. Separately, through the prism of modern painting in Levkas, such categories as: appropriationism and anti-portrait are considered as one of the more innovative options of artistic synthesis.
The main innovative technical-conceptual achievements of interspecies, technical-technological types of synthesis in the context of modern Ukrainian levkas painting are: 1) the use of both traditional (organic) and modern (synthetic) formulations and mixtures of levkas; 2) the use of levakas not only on a wooden base, but also on canvas, metal, enamel, etc.; 3) pursuing the idea of harmonizing opposites (materials, textures, forms, contents); 4) an attempt to combine classical (traditional) and modern design principles; 5) using levakas to imitate materials and techniques (for example, engraving, linocut, xylography, etc.); 6) an attempt to create innovative (author's) techniques or methods based on the synthesis of levkas painting with other types of art; 7) the idea of revealing hidden (uncharacteristic for the material or technique) aesthetic and technical values and possibilities of materials (in particular, levkas); 8) focus on originality, uniqueness and unpredictability of methods and methods of representation; 9) the idea of expressing a certain historical or socio-cultural context.
The peculiarities of the process of synthesis based on modern Ukrainian painting on levkas are classified and analyzed according to the following categories: subordination, gluing, symbiosis, fusion, relay connection, blurring. For the first time, modern Ukrainian levkas painting is analyzed in the context of the phenomenon of "artistic appropriation", the result of which is the establishment of the main types of appropriation borrowing: direct appropriation, parody or satire, sampling or collage, reconstruction. For the first time, the phenomenon of anti-portraiture is analyzed in the context of modern religious painting on Levkas in Ukraine, and the main artistic strategies of this principle are established, namely: playing with abstraction, expressiveness and emotionality, the use of a symbolic-sign system, the use of unusual materials and techniques, introspection, criticality and irony. For the first time, the interactive artistic expression of Ukrainian religious painting in Levkas was investigated, which revealed the main artistic features that contribute to the establishment of interaction and mutual influence.
Key words: levkas, painting on levkas, icon painting, synthesis, reflections of the state of war, modern Ukrainian painting, religious painting, interaction of arts, anti-portrait, artistic appropriation, interactive religious painting.
