HISTORIOGRAPHIC STUDIES FROM REGIONAL AND ORNAMENTAL FEATURES OF EASTER EGGS PAINTING
Bibliographic record
Abstract
The article deals with the national historiography in which problems of regional-ornamental peculiarities of easter eggs painting are highlighted. The purpose of the proposed research is the analysis of the existing sources related to the historiography of regional ornamental peculiarities of easter eggs painting as a type of decorative and applied art in general. The main task: to find out the current state and degree of study of the problem. The methodological basis is the general scientific principles and methods of research. Among them - problem-chronological, search, analysis and synthesis, generalizations that allowed to explore this issue and identify works that highlight the topics. Symbols of Easter eggs, their ornamentation and semantics have attracted the attention of researchers: F. Vovka. M. Sumtsov, M. Kordubi, K. Sherotsky, V. Scherbakovsky, A. Lyashenko for a long time. Historiographical studies of regional peculiarities of easter eggs and ornamentation of certain historical and ethnographic zones and regions are practically absent. Among the authors we can mention works by V. Tkachenko, N. Bendyuk. Consideration of ethnographic materials from Volyn on the pages of the Canadian edition "Chronicle of Volyn" is devoted to the article by V. Nadolnoy. A. Dmitrenko explores the traditional and everyday culture of this historical and ethnographic region of the second half of the 20th century, including Easter eggs. Regional historiography and sources are covered in works: M. Maslovsky - Zhytomyrshchyna; O. Yanoshchak-Pshibili – Prykarpattya; I. Dmitruk - Hutsulshchyna; O. Kozholyanka – Bukovina; V. Savchuk – Podillya. O. Khalachanska devoted her research to the symbolism of Easter eggs and its possible use in the lessons of linguistics while working with the works that paid attention to the Poltava Pysanka. Recently, many works are published in which ornamentation is explored in its various aspects. In particular, N. Lolina from Kyiv examines the development and features of the geometric ornament used in the Easter eggs. The author of the article about the abstract sign in the geometric ornamentation of the Ukrainian Easter eggs, A. Dubriva analyzes the historical and cultural preconditions of the emergence, formation and development of abstract art. A. Gotsaliuk tries to reveal the sacred role of the eggs as a protective symbol, its development from paganism and to the present, without neglecting the importance of eggs in the Christian religion. Considering the historiography of Easter eggs painting, A. Gotsalyuk notes that M. Sumtsov "first studied Easter eggs as a folk art ritual, having determined the importance and place of Easter eggs in the culture of Ukraine, paying special attention to the semantics of their ornament". In the article O. Poyannyk from the "Vasyl Stefanyk Precarpathian National University" features peculiarities of preserving the traditions of Easter eggs painting in the education of children of the Ukrainian Carpathians. Covering the historiography of the problem of ceramic Easter eggs of the XI-XIII centuries. Researcher A. Sushko notes that the greatest attention to such products was paid in the works by T. Makarova and H. Shovkoplyas. Among the researchers of the time of the Independence of Ukraine, who considered ceramic Easter eggs, she gives the names of V. Titiynuk, D. Pozhozhuka, A. Valush and V. Tkachenko. For the newest historiography a significant increase in different publications, articles, monographs, etc. is characteristic. About that not all works have and bear historiographic works of literature on art-study issues, including ornamentation of pysanka paintings, etc. Thus, the study considers the historiographic work of scientists on the study of pysanka painting and its ornamental peculiarities. It is noted that the problem of historiographical sources studies of regional pysanka painting and symbolic-semantic significance of motifs is now one of the least developed in the national historical and ethnological and art-studying science. One can confidently say only a few studies that partly claim to historiographic reviews of the study of Easter eggs of Ukraine.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".