Автобусні Зупинки Радянської Доби: Феномен У Монументальному Мистецтві

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

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