Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century
Bibliographic record
Abstract
The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.004 | 0.004 |
| Scholarly communication | 0.003 | 0.001 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| 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 source (direct Gemma or distilled Codex), 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".