CC BY
13
Section 1. Visual arts
https://doi.org/10.29013/EJA-21-1-3-9
Dolesko Svitlana Valerievna, Postgraduate of Department of Art Expertise National Academy of Culture and Arts Management, Ukraine
E-mail: [email protected]
ARTISTIC POTENTIAL AND ARTISTIC RESOURCE THROUGH THE PRISM OF THE COMPLEX OF TRADITIONAL UKRAINIAN CLOTHES
Abstract. The article considers the issue of artistic potential and artistic resource through the prism of the analysis of the complex of traditional Ukrainian clothing, which resonates with the challenges of modern scientific and artistic knowledge. Based on the interdisciplinary approach the primary methods to the understanding of the potential and resource of the national dress and its elements are comprehended. By following modern theoretical concepts, promising areas of scientific art prospects related to the study of traditional folk costumes, in particular, Ukrainian, are revealed.
Keywords: artistic potential, artistic resource, elements of folk costume, traditional Ukrainian costume.
The present day is determined by dynamic processes in all spheres of human life, there is an urgent need for qualitatively new views on established processes, concepts, and objects. This also applies to the sphere of the traditional culture of the Ukrainian people, an integral part of which is clothing. It reflects the worldview of Ukrainians, regional socio-cultural features, diversity of artistic and ethnocul-tural traditions.
After the fact of the independence of Ukraine, there is a remarkable tendency of turning to the traditions of dress of the Ukrainian people, which is a manifestation of nationality, patriotism, respect for the historical and cultural heritage of people.
The development of so-called ethnic patriotism possesses a particular relevance, which primarily
sees the psychological state of the nation, its national and ethnic identity, and self-identity. The last aspect is based on the respect and love of Ukrainians for traditional art, beliefs, values, norms, ideals. Its formation takes place in conditions of preservation of the native language, culture, respect for the own history, and the relationship to the own people.
However, over time, the following issues have arisen: expanding the range of uses of Ukrainian costume, which is not limited, among other matters, to wearing a set of clothes or its elements during public or family holidays.
In terms of the mentioned regard, the question arose about the actualization of understanding and coverage of new views on the existence of the clothing complex, or its individual elements in modern
times. This is relevant if we take into account the constantly growing interest of scientists, designers, and the general public towards Ukrainian costume not only in Ukraine but also in the world.
That is a reason why we focus on understanding the artistic potential and artistic resource of traditional Ukrainian clothing, which will strengthen the theoretical and practical testing of the studied phenomenon.
The issues raised in the article allow focusing the attention of scientists on the study as well as the formulation of acting concepts on the concept of artistic potential and its argumentative introduction to scientific art knowledge. The last issue is vital, as it will help to expand the range of theoretical understanding and cover a range of aspects related to the potential artistic prospects and resource components of traditional Ukrainian clothing.
The scientific approaches and concepts analyzed in the article testify to the active interdisciplinary approach to the conceptual apparatus defined in the presented research and allowed stating reasonably regarding insufficient attention to the raised subjects in the Ukrainian art knowledge. The actualization of art critics' understanding of the specifics of artistic potential and artistic resources as a subject of scientific research, on the example of the traditional clothes of the Ukrainian people, is indisputable.
The purpose of the article is to reveal the key approaches to understanding the artistic potential and artistic resource through the prism of folk costumes, in particular, traditional Ukrainian costumes.
We turn to the scientific theories and concepts of Ukrainian scientists, in particular, Anastasia Varyvonchyk to achieve the scientific goal.
At the same time, numerous scientific works are devoted to the study and research of history, types, regional and stylistic features of the dress, among which we should note the fundamental research of M. Bilan, Z. Vasina, N. Kaminska, O. Kosmina, T. Kara-Vasilieva, K. Mateiko, V. Naulko, T. Niko-laeva, G. Stelmashchuk. It is important to reveal the
concept of artistic potential on the example of the complex of clothes of the Ukrainian people.
For a clearer understanding of concepts such as "artistic potential" and "artistic resource," we turn to a dictionary interpretation of the mentioned concepts. Thus, the academic explanatory dictionary of the Ukrainian language interprets the word "potential" as "a set of all available means, opportunities, productive forces, etc. that can be used in any industry, area, sphere," "stock of something; reserve," "hidden abilities, forces for any activity that may occur under certain conditions." Also, we find the interpretation of the word "resource" as "stocks of something that can be used if necessary," "means, opportunity, which can be used if necessary" [1].
It should be emphasized that the theoretical understanding of the terms "potential" and "resource" has not been studied to date precisely in terms of art knowledge. The studied concepts are characterized by interdisciplinary scientific approaches.
Thus, the representatives of economic knowledge consider potential as "the intrinsic property of any object or its element, as a carrier of which manifests itself concerning the external environment." At the same time, scientists associate the modern interpretation of the concept of "potential" with such terms as "resource," "reserve." Scientists are unanimous that in this case, the potential embodies the real ability to use the resources that are available to perform tasks. Due to their opinion, the issue of determining the essence ofpotential is closely related not only to the definition of the object and subject of evaluation but also to the relationship between the concepts of "resource," "reserve," "opportunity," "result of an activity," "property," "ability," with which the potential is associated. As already noted, the potential is often identified with resources or their combination. Therefore, the set of resources is an integral part of the potential [2].
It is necessary to emphasize the importance of the sphere of culture, but also, accordingly, cultural capital and product in the system of economic poten-
tial and resources of states. In a certain context, the opinion of Ukrainian culturologist Olga Kopievska is quite correct, who, while researching cultural capital as a component of the modern state, emphasizes the decisive role of art and its creators, their unique and individual creative potential and resource. The researcher notes the importance of finding modern cultural and artistic practices for the effective preservation and promotion of unique folk, traditional, and characteristic artistic product for the Ukrainian people and Ukrainian culture [9].
The works of art critic Anastasia Varyvonchyk are important for revealing the topic. By communicating the issues of genesis, historical evolution, current state and trends in the arts and crafts of Ukraine, the Ukrainian researcher pays special attention to the disclosure of art as production, traditional folk embroidery as an element of modern production, costume as an artistic reflection of the style of the epoch [5; 6].
The theoretical approaches mentioned above do not reveal the topic of artistic potential as well as resources and are characterized by a certain shallowness concerning the concepts we have mentioned. Moreover, the interdisciplinary essence of theoretical approaches to the issues covered in the article requires the topic of a profound understanding of art theorists.
In the context of the interdisciplinary approach to the issues outlined in the article, we should emphasize the active attention of pedagogical science to the study of the potential and resources of folk costume. Thus, N. Goncharova, while researching the sacred symbolism of the Tatar folk costume, singles out its educational function. The scientist notes that the "pedagogical potential of the symbolism and ornament of the folk Tatar costume consists of its functions: cognitive (knowledge of the features of the costume, history, its ethnic-regional features); axiological (values, worldviews), sociocultural (formation of sociocultural activity, involved in the preservation, revival, and development of folk traditions, acquaintance with the cultures of other peoples); educational (comprehensive education and devel-
opment of personality, the formation of perception, imagination, aesthetic interests)" [8,73].
The scientist S. Belova turns to the understanding of the potential of traditional folk costume. The theoretical and methodological perspective ofthe research problem of S. Belova is connected with the historical-pedagogical and ethnocultural phenomenology of folk costume, its potential in the training of future teachers-designers. The scientist emphasizes the importance of studying and using the potential of traditional folk costume in the formation of research skills of future teachers-designers, which in turn will transform the idea of its resource capabilities and prospects [3].
Representatives of a pedagogical science while addressing the understanding of the role and importance of the national costume, its study, emphasize the importance of educational practices on a given topic, which according to scientists enhances the formation of national self-knowledge among the primary school audience. Scientists based on the results of thorough research have concluded that the study of the national costume, its elements has a huge potential in the formation of national identity. A practical approbation of the problems conceived by scientists-lecturers allowed to develop and implement the author's program "National Costume," the practical significance of which is indisputable and can be used within professional activities by scholars of additional and general education [12, 4].
The potential and resource of the elements of the national costume is the object of attention of scientists who study folk art. In particular, scholars who study the Chuvash folk costume note the priority of preserving and reflecting the aesthetic foundations of traditional costume when creating a stylized modern outfit. According to scholars, "the national costume, which has developed over one and a half thousand years, is rich and diverse in ethnic forms, reveals deep ties with the history of the people. Chuvash folk costume is not a matter of the past. At the beginning of the third millennium, it continues to develop, arouse special interest in society, artists, folk artists,
researchers, culturologists, scholars, designers. It is important to preserve the national costume not only in its festive function, we must have invaluable collections as everyday clothing" [7, 125-126].
The presented above arguments deliver us the right to state the active attention of foreign scholars, representatives of pedagogical thought, to the role and importance of the national costume. An important role belongs to educational practices and technologies, the logical implementation of which allows the subject to form not only the necessary knowledge but also to identify the own art potential and resource.
Thus, it is obvious that the concept of artistic potential intersects with the concept of the artistic resource. The latter embodies all the richness of the material manifestation of individual elements and the whole complex of clothing, as well as the intangible plane of clothing, which includes the traditions of manufacture and wearing.
The essence of artistic potential is in the scientific-artistic or popular science reading of a particular element of clothing, or the whole complex and the gradual interpretation and application of it following modern social needs.
The content of artistic potential and the diversity of the artistic resource of the outfit is revealed by T. Nikolaeva in her fundamental work "History of Ukrainian costume." According to the researcher, "the expressiveness and functionality of the Ukrainian costume were achieved through the use of various materials, simplicity and sophistication of structures and forms, the richness of species, techniques and compositions of ornaments and decorations, unity of constructive, technological and artistic techniques. An integral feature of the Ukrainian traditional costume is its complexity" [13, 6].
The author of this study sees the application of the potential of the complex of traditional clothing, primarily in ensuring the preservation of the reputation of the Ukrainian nation in the world. In the conditions of active globalization processes, the blurring
of not only economic and geographical borders, but also, first of all, cultural ones is noticeable.
In other words, there is a gradual weakening of the national self-identification of Ukrainians, as well as other nations. This is facilitated by the crisis in the economy, which leads, in particular, to an increase in the number of Ukrainians leaving their homeland to improve their living conditions.
In this case, the artistic potential of the Ukrainian costume acquires a patriotic and unifying color. Of course, today we see a fragmentary use of elements of clothing, for example, during festive events. However, this is not enough while taking into account the potential inherent in the costume as a unique phenomenon of Ukrainian culture.
Applying the potential of the costume is extremely important in this vector because the costume of Ukrainians is especially valuable from an artistic point of view. It embodies a variety of traditional techniques of decorative and applied arts. Accordingly, if Ukrainians present not only at home but also abroad a set of clothes in the form that is devoid of elements of kitsch, with regional characteristics - one can succeed in promoting the artistic component of the costume.
First, we are talking about the introduction of a dress code, which provides for the use during calendar holidays, events with the participation of leaders of state and representatives of diplomatic missions in Ukraine and abroad, namely the complex of clothes, in all its traditional manifestations.
Thus, the use of the artistic potential of the costume in combination with the patriotic context, through the presentation of a number ofartistic techniques used in previous centuries and now continue to be utilized by masters of decorative and applied arts of Ukraine. The mission of artistic potential is more than promising and strategically important due to the external representation of Ukrainian culture and art in the world, among which special attention is paid to elements of traditional Ukrainian clothing, namely weaving, embroidery, beadwork, beating, leather, and
metalwork. With the help of these techniques that certain elements of the outfit were created.
Their list and functional purpose researchers characterize as follows: the main components of the complexes of clothing were underwear, waist (thigh), chest, and outerwear; hats, belts, detachable jewelry, and shoes played a special role in the complex. Each of the components fulfilled its purpose, differing in material, construction, ornamental and color solutions, decoration, as well as the way of wearing and connecting. The details of the costume varied depending on different everyday situations, the nature of work, customs, rituals, season. On especially solemn occasions (for example, at a wedding) the whole complex was dressed, while acting as an important social indicator, emphasizing the property and family status of a person, age, nationality, regional characteristics" [13, 6].
The artistic resource in the context of traditional Ukrainian clothing includes some of its elements and their ornaments, forms, method of manufacture, and wearing. Each item of clothing has its own definite and inviolable place, stable features in the field of spiritual values of the people.
An analysis of the fashion collections of Ukrainian designers shows that over the past few years the tendency to create a new collective artistic image of folk costumes has increased. However, masters of decorative art (especially embroidery) try to preserve the main element of the Ukrainian costume -an embroidered shirt in the traditional authentic form. This is a kind of reaction to the attempt to save the ethnic self-identification in the context of globalization. However, the creation of new artistic images of folk costumes is a natural process. In this case, the use of such a resource is seen through the latest reading.
For example, traditional beaded jewelry is relevant, among which - gerdany, cryzy, sylyanky. Their traditional shapes and ornaments (mostly geometric) in terms of resourcefulness can be used by modern clothing designers. In particular, as prints
on clothes - both integrally (form + pattern of ornaments), and their separate elements.
Also, a capacious resource is the forms of types of clothing that should be successfully adapted to other areas of the creative space. For example, a wreath worth using is a traditional girl's headdress or an edge belt due to its shape and ornamental filling. The wreath is an actively researched object of Ukrainian researchers and its significance is considered mainly in the context of Ukrainian rituals. The wreath in its modern practical use is understood as one of the most common elements on which the artistic image of the Ukrainian folk image of the XXI century is based.
Ukrainian artists and photographers, and especially the younger generation of artists, should pay more attention to the artistic resource of the costume. After all, the art of painting, graphics, and photography regularly needs qualitatively new ideological content, unique creative solutions. Therefore, it will be extremely successful to use the resources that traditional Ukrainian clothing holds.
Reading in the language of painting or photography of individual elements of the costume as the center of the composition, the essence of the ideological idea of the artist or photographer may be in demand. For example, a plahta (handmade Ukrainian cotton or wool fabric) or its ornament, earrings, or corals as a full-fledged art object. Nevertheless, read from a new angle.
Therefore, the analysis allows us to draw the following conclusions. The knowledge and materials acquired by scientists during the study of Ukrainian folk clothing is an important source for various fields of activity and requires the latest views, one of which is the concept of artistic resource and potential through the vision of traditional Ukrainian clothing.
The artistic potential and resource of traditional Ukrainian clothing are undoubtedly significant due to the need to represent Ukrainian traditional clothing in the world. Effective use of modern artistic practices to promote Ukrainian traditional clothing and its elements is a powerful resource for establishing
intercultural dialogue. An active artistic resource, through the practice of popularizing the elements of Ukrainian traditional clothing, allows outlining the fundamental values, norms, patterns ofbehavior, basic meanings, and life guidelines of the Ukrainian reality.
The use of artistic resources and potential by artists and designers is valuable. Today it is extremely necessary for politicians and cultural figures, for the professional education of art critics, historians, and masters of decorative and applied arts.
It is extremely important for the patriotic and aesthetic education of the new generation of Ukrainians - both those who live in Ukraine and representatives of the Ukrainian diaspora in the world.
For modern designers, the appeal to the traditions of creating a national costume becomes
a source of inspiration in the modeling of the modern fashion. Modern fashion designers seek to understand the origin and meaning of patterns, to preserve the value of handicrafts and natural materials.
Thus, the study of artistic potential and artistic resource through the prism of folk costumes, in particular, the Ukrainian traditional one possesses different approaches and concepts. For art knowledge, it is important to appeal to a clearer understanding of the concept of "art potential" and "art resource," the author's concepts of which would allow formulating strategic goals and priorities for preservation clearly, development and promotion of not only traditional folk costumes and its elements but also an art product in general.
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