Автобусні Зупинки Радянської Доби: Феномен У Монументальному Мистецтві

The article studies bus stops as a specifi c phenomenon of the environmental art of the Soviet period. It examines the territory of the post-Soviet Union of the 1980s in general and certain regions in the Ukrainian SSR in particular. A comparative analysis of artistic and architectural qualities of bus shelters of different Republics of the USSR has been conducted. Particular examples of the decoration of Ivano-Frankivsk region bus shelters are taken into account in the context of their aesthetic, visual and cultural importance. Their stylistic features, techniques of execution and means of expressiveness are analyzed. The main thematic directions of compositions pertained to Ivano-Frankivsk region are highlighted and systematized. The specifi c color palette, typical ornamental motifs and their connection with the traditional decorative-applied art of the Precarpathian region have been estimated. Special attention has been given to professional artists who have worked on the creation of monumental works for bus shelters. The issue of the preservation and reconstruction of mosaic panels stops as art monuments of the region is becoming urgent. Target setting. Monumental art of bus shelters as a cultural heritage of the Soviet-era merits serious attention. It is conditioned by an objective necessity of its time, the desire to strengthen the content, the aesthetic signifi cance of the environment. Today it forms a part of the most alive traditions of the post-Soviet era. Particularly in Ukraine, art works of stops often serve as bearers of lyrical folklore images, progressive folk traditions, characteristics of ethnic heritage and artistic identity. Leading masters of the region worked on bus shelters of Ivano-Frankivsk region, giving them a special emotional colouring, plastic variety, the dynamics of rhythms, in harmony with the environment. However, in our time, the danger of their complete destruction especially raises the question of fi xing these monuments, their reconstruction and preservation. Urgency of the research. Mosaic compositions of bus shelters refer to the least studied works of the monumental art of Ivano-Frankivsk region and Ukraine in general. Many of them are lost, and a large part of it is in an advanced state of decay or is ruining. Thus, there is a need for a comprehensive artistic and stylistic, art analysis. Background. Despite the uniqueness of such a cultural phenomenon as the monumental art of bus shelters, its thorough historical and art research is missing. The only sources that partially describe the phenomenon of stops are the photo albums, which bear only an exclusively illustrative function. However, the public interest to the art of bus shelters is constantly growing. The kick-start for this process came from the outside, when the well-known Canadian photographer Christopher Herwig shared the results of his journey through the territories of the former Soviet republics and in 2014 presented the book “Soviet bus stops” to the world, where he directed attention to some bus shelters of Ukraine. A signifi cant step in the popularization of the monumental art works of the Soviet era was made by the Ukrainian photographer Eugene Nikiforov, through his photo-study published as the book “Decommunized: Ukrainian Soviet Mosaics”. The album contains about 200 unique photographs of monumental panels from 109 cities and villages of Ukraine, with the examples of bus shelters as well. A special symbolic meaning of the phenomenon of Ukrainian bus shelters was given by the designer Yana Chervinska and the artist Oleksandr Burlaka. It was them who set the bus stop as the cornerstone concept for their exposition booth at the largest international design exhibitions of the International Fashion Showcase in 2017, which was held under the motto of the global and local interconnection. Objectives. The purpose of the article is a comprehensive artistic and stylistic analysis of bus shelters of Ivano-Frankivsk region, identifi cation of the defi ning features, trends and vectors of the development of their fi gurative palette. Analyzing the bus shelters as artistic monuments of special cultural signifi cance of Ivano-Frankivsk region, we have faced the problem of their preservation. After all, most of the stops are in an abandoned condition and are destroying both through natural factors and by vandals and careless citizens. Many works of the monumental art, at the moment, can be considered as missing traces, and those which continue to decorate the walls of the bus shelters need professional restoration, renewal and upkeep. Increasingly, we see the initiatives of popular creative activity on decorating stops in the places where the works by professional monumental artists could be found. This process is especially evolving in the central regions of Ukraine, particularly, in Poltava and Zaporizhzhia regions. Conclusions. Consequently, the monumental art of bus shelters on the territory of the post-Soviet area is a phenomenon that is Харків 2018 2 розділ absolutely unique on a global scale. It carried a communicative, city-forming function, contributed to the humanization, theatricalization of the environment. Stops are objects that accumulated a powerful cultural code for a particular area, gave the environment vizualization, ideology, and relevance. The mosaics of bus shelters of Ivano-Frankivsk region were distinguished by their graphical expressivity, richness of color and form, individuality of themes. The works have a strong connection with the applied art of the region, its folkloric asset, high professionalism of performance and aesthetic completeness of images.

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