Space-Time Ordonnance of Mykhailo Boychuk’s and His Students’ Drawing

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12-19
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The evolution of the space-time concepts of modernism is closely connected with the physical and mathematical discoveries and philosophical ideas of the late 19th and early 20th centuries. The article analyzes a set of factors that influenced the ways of embodying the fourdimensionality of the time-space continuum in the drawing of Mykhailo Boychuk and his students. In addition to numerous works by Ukrainian art critics on the phenomenon of the school of Mykhailo Boychuk, the study is also based on the works of early 20th-century theorists Oswald Spengler, Pavel Florensky, Kazimir Malevich, Wassily Kandinsky and research by contemporary scholars on the problem of time in avant-garde art. The worldview paradigm of Byzantine culture, which underlies the concept of Neo-Byzantinism, defines space-time as a cyclical system closed in eternal repetition, which is separated from any dynamism and rapidity of Western European art styles. Thus, the temporal and spatial principles of Mykhailo Boychuk’s Ukrainian school of monumental art are fundamentally different from the dynamic mastery of the multidimensionality of non- Euclidean space of most avant-garde movements, which emphasizes the uniqueness of Boychukism as a special trend of Ukrainian modernism.

The very desire to embody eternity, the reflection of the «motionless movement», the inner energy became the basis for the selection of world art styles, laid down by Mykhailo Boychuk as the basis of the concept of the school of Ukrainian monumental art. Given the nature of the reproduction of space-time, it is only a matter of transformation, fusion of the essence of the traditions of Byzantine, Ancient Rus,

Ukrainian folk art, and primitivism with the features of the Proto-Renaissance, Ancient Egypt, and Ancient East. The ordonnance of the temporal-spatial structure of the Boychukists’ drawings is thus based on static styles, removed from the dynamics of the time flow. The unity of the spacetime structure of their drawing sheets is conditioned by the chosen proto-symbol of feeling, awareness and embodiment of the categories of time and space, which can in no way be replaced by another without losing the essence of cultural identity.

УДК: 
41.01+7.03(477)"192/193"
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Англійська
Список літератури: 

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