ORNAMENTAL COMPOSITION IN TAURI PAINTING

Authors

DOI:

https://doi.org/10.54662/veresen.4.2022.14

Keywords:

colour scheme, composition, ornament, painting of Tauri, plot composition

Abstract

The article is devoted to the peculiarities of the ornamental composition in Tauric painting. The composition idea is revealed as one of the main structural components of every artwork. It is stated that composition unites and organizes space, any piece of art subjects to the so-called laws of composition. The peculiarities of the Tauria painting make a unique system of ornamental decoration, in the patterns they demonstrate predominant marine ornaments, vegetable and animal objects, and fishing. The main elements of the Tauria painting are «fish», «lighthouse», «jellyfish», «anchors», «sailboat», «seahorse», «crab», «wind rose», «wave», «boat», «cloud», «drop», «seagull», «sailboat». Each element is different in its technique. The color scheme of the painting of Tauria has its own peculiarities (white and pale-blue background depicting plant and animal elements; the composition is not overloaded with details of the décor and allows one to focus on the plot, etc).

The themes and elements of the painting Tauri are simple and understandable for everyone, they have a fresh breeze from the sea, the blue sky, the fragrance of the steppes, great respect for the riches of nature and human labor, and love – boundless love for the native land. All artistic crafts always have their roots deep in history and their development is influenced by many factors, such as the natural environment, everyday life, culture of the inhabitants, legends, folklore and written creativity. Symbolism, features of composite household, color scheme, theme and performance technique grow out of this.

References

Bondarenko, Ye. P. (2004). Stepovi skarby. Deiaki aspekty narodnoho obrazotvorchoho mystetstva Pivdnia Ukrainy [Steppe treasures. Some aspects of the folk art of Southern Ukraine]. Narodne mystetstvo, 1–2, 48−49 (ukr).

Bondarenko, Ye. Р. (2010). Stezhky do Lymanu: novely [Paths to Liman: short stories] (Ed. O. V. Topchyi). Mykolaiv: VART. Ch. 2 (ukr).

Golubeva, O. L. (2004). Osnovy kompozicii [Basics of composition]. M.: Izd. dom «Iskusstvo» (rus).

Kryvorotova, A. V. (2011). Formy i rytmy u pryrodi ta u dekoratyvno-prykladnomu mystetstvi [Forms and rhythms in nature and in decorative and applied art]. Cherkasy (ukr).

Meleniuk, T. V. (2020). Osnovy kompozytsii [Basics of composition.]. Kyiv (ukr).

Paraniuk, L. & Bozhkova, H. (2021). Tavriiskyi rozpys [Tavri painting]. Mykolaiv (ukr).

Shorohov, E. N. (1986). Kompozicija [Composition]. M.: Prosveshhenie (rus).

Stepaniuk, N. K. (2021). Tavriiski vizerunky [Tavrian patterns]. Veresen, 1 (88), 141–154. DOI: https://doi.org/10.54662/veresen.1.2021.14 (ukr).

Sylko, Ye. M. (2015). Kompozytsiia. Teoretychni osnovy kompozytsii [Composition. Theoretical foundations of composition.]. Chernihiv (ukr).

Tarasenko, O. V. & Dihtiar, N. H. (2019). Kompozytsiina kompetentnist – skladnyk profesiinoi pidhotovky maibutnikh uchyteliv obrazotvorchoho mystetstva [Compositional competence – a component of professional training of future teachers of fine arts]. Poltava (ukr).

Tymkiv, B. M. (2009). Kompozytsiia – forma isnuvannia tvoru yak orhanichno tsiloho. Tvorchi osnovy zobrazhennia [Composition – the form of existence of a work as an organic whole.Creative basics of the image]. Ternopil. Vydavnytstvo «Pidruchnyky i posibnpky» (ukr).

Zaitseva, V. I. (2021). Praktyka kompozytsii [Composition practice.]. Kyiv (ukr).

Published

2023-01-02

Issue

Section

Статті