Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects
The article is devoted to the unique wall paintings in the estate museum of Polina Raiko in the town of Oleshky in the Kherson region, which has been damaged and destroyed significantly by high water as a result of the criminal detonation of the Kakhovka Hydroelectric Power Plant in June 2023 by Rus...
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Інститут мистецтвознавства, фольклористики та етнології iм. М.Т. Рильського НАН України
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| description | The article is devoted to the unique wall paintings in the estate museum of Polina Raiko in the town of Oleshky in the Kherson region, which has been damaged and destroyed significantly by high water as a result of the criminal detonation of the Kakhovka Hydroelectric Power Plant in June 2023 by Russian troops. The flooding of the artistic heritage of Polina Raiko has actualized several problems related to the loss of cultural monuments in the conditions of the latest challenges, causing a deep rethinking of the visual experience of naive art in modern realities.
Статтю присвячено унікальним настінним розписам у садибі-музеї Поліни Райко в м. Олешки Херсонської області, що внаслідок злочинного підриву російськими військами Каховської ГЕС в червні 2023 року були суттєво пошкоджені або знищені великою водою. Затоплення художньої спадщини Поліни Райко актуалізувало низку проблем, пов’язаних з утратою пам’яток культури за умов новітніх викликів, зумовило поглиблене переосмислення візуального досвіду наївного мистецтва в сучасних реаліях.
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44
CТУДЕНЕЦЬ НАТАЛЯ
кандидатка мистецтвознавства, старша наукова співробітниця відділу образотворчого та декоративно-
прикладного мистецтва Інституту мистецтвознавства, фольклористики та етнології ім. М. Т. Рильського
НАН України (Київ, Україна).
ORCID ID: http://orcid.org/0000-0003-4314-6475
STUDENETS NATALIA
a Ph.D. in Art History, a senior research fellow at the Visual and Applied Arts Department of M. Rylskyi Institute
of Art Studies, Folkloristics and Ethnology of the National Academy of Sciences of Ukraine (Kyiv, Ukraine).
ORCIDID: http://orcid.org/0000-0003-4314-6475
DOI https://doi.org/10.15407/nte2024.02.044
УДК 39:75.052:7.025]Райко:[341:324:355.012](470:477)“2023”
Бібліографічний опис:
Студенець, Н. (2024) Художня спадщина Поліни Райко в просторі сучасної культури: актуальні ідеї та про-
єкти. Народна творчість та етнологія, 2 (402), 44–49.
Studenets, N. (2024) Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and
Projects. Folk Art and Ethnology, 2 (402), 44–49.
A RT IST IC H ER ITAG E OF POLI N A R A I KO
I N T H E SPACE OF MODER N C U LT U R E:
R E L E VA N T I DE A S A N D PROJ ECTS
Анотація / Abstract
Статтю присвячено унікальним настінним розписам у садибі-музеї Поліни Райко в м. Олешки Херсонської об-
ласті, що внаслідок злочинного підриву російськими військами Каховської ГЕС в червні 2023 року були суттєво по-
шкоджені або знищені великою водою. Затоплення художньої спадщини Поліни Райко актуалізувало низку проблем,
пов’язаних з утратою пам’яток культури за умов новітніх викликів, зумовило поглиблене переосмислення візуального
досвіду наївного мистецтва в сучасних реаліях.
Про самобутні хатні розписи П. Райко писало чимало дослідників. Утім, поглибленого наукового аналізу зна-
чення наївного мистецтва в сучасному культурному просторі України, у взаємозв’язках традиційного та модерного,
в аспекті збереження художньої спадщини за умов новітніх викликів здійснено не було.
Наївне малярство П. Райко, попри виразну авторську стилістику, брак фахового підґрунтя, творчу автономію
щодо соціокультурної традиції певного осередку, зберігає генетичну спорідненість зі звичаєвою народною культу-
рою. У статті досліджуються глибинні зв’язки стінописів майстрині з традиційними візуальними практиками Півдня
України, що проявилося в особливому світосприйнятті, орнаментальних структурах, мотивах, техніках розпису.
Настінними розписами П. Райко інспіровано низку актуальних проєктів та артзаходів у просторі сучасної куль-
тури. У цьому контексті здійснено огляд резонансних виставок 2023 року – «Поліна Райко. Зникоме» та «Спец-
операція “Зруйнувати рай”», спрямованих на підтримку її будинку, відновлення творчої спадщини, знівеченої під час
російсько-української війни.
Ключові слова: творча спадщина, наївне мистецтво, розпис, ідеї, проєкти.
© Видавництво ІМФЕ ім. М. Т. Рильського НАН України, 2024. Опубліковано на умовах відкритого доступу за
ліцензією CC BY-NC-ND (https://creativecommons.org/licenses/by-nc-nd/4.0/)
45
НАТАЛЯ СТУДЕНЕЦЬ
The article is devoted to the unique wall paintings in the estate-museum of Polina Raiko in the town of Oleshky in Kher-
son region, which has been damaged and destroyed significantly by high water as a result of the criminal detonation of the
Kakhovka Hydroelectric Power Plant in June 2023 by Russian troops. The flooding of the artistic heritage of Polina Raiko
has actualized a number of problems related to the loss of cultural monuments in the conditions of the latest challenges,
caused a deep rethinking of the visual experience of naive art in modern realities.
Many scholars have written about P. Raiko’s unique house wall paintings. However, a profound scientific analysis of the
significance of naive art in the modern cultural space of Ukraine, in the relationship between traditional and modern, in the
aspect of preserving the artistic heritage in the conditions of the latest challenges, has not been carried out.
Polina Raiko’s naive painting, despite the expressive authoress’s style, lack of professional background, creative auton-
omy in relation to the socio-cultural tradition of a certain center, retains genetic kinship with ritual folk culture. The deep
connections between the artist’s wall paintings and the traditional visual practices of the South of Ukraine, manifested in a
special world view, ornamental structures, motifs and painting techniques are investigated in the article.
A number of current projects and artistic events in the space of modern culture has been inspired by wall paintings of
P. Raiko. In this context, a review of the high-profile exhibitions of 2023 – «Polina Raiko. Disappearing» and «Special
Operation “To Destroy Paradise”» aimed at supporting her house, restoration of creative heritage, mutilated during the
Russian-Ukrainian war, is submitted.
Keywords: creative heritage, naive art, painting, ideas, projects.
A problem statement. Polina Raiko’s unique
house wall paintings have been kept in the
authentic space of her estate-museum in the city
of Oleshky in Kherson Region until recently.
The criminal blowing up of the Kakhovka
Hydroelectric Power Plant by Russian forces in
June 2023 has led to a large-scale environmental
and humanitarian disaster in the region. As a
result, a considerable part of the original works
has been destroyed or damaged by heavy water.
The f looding of the artist’s heritage has
caused a powerful resonance in the society,
actualized a number of problems related to the
loss of cultural monuments under the conditions
of the latest challenges, and led to an in-depth
rethinking of the visual experience of naїve art
in modern realities.
Review of research and published
works. Polina Raiko’s works have become a
real discovery in the early 2000s, thanks to
the Kherson local historian Serhii Diachenko.
A catalog book has been published in 2005
with the reproductions and a description of the
artistic system of the craftswoman’s home wall
paintings, individual iconic images in her works
[5]. The unique painted farmstead has been
reported in the local periodical of the Kherson
Region. The artist’s heritage is reviewed in
professional publications by Larysa Ivanyshyna
[2], Natalia Prykhydchuk [4], Svitlana Yatsenko
[11] and other authors. Separate aspects of
the transformation of P. Raiko’s works in the
design activity of the Kherson Region are also
considered [3]. However, a comprehensive
analysis of the phenomenon of naїve painting in
modern culture, its relationship with traditional
authentic and the latest practices in the context
of the latest challenges has not been carried out.
The purpose of the article is to analyze
and reveal the meaning of naïve art in the
modern cultural space of Ukraine, namely, to
examine the home paintings of the master Polina
Raiko in the relationship between traditional
and modern, to consider measures aimed at
preserving her creative heritage in the current
conditions of the Russian-Ukrainian war.
Presentation of the basic material. Polina
(Pelaheia) Raiko (1928–2004) was born and
lived all her life in her native city of Oleshky
(former Tsiurupynsk) in Kherson Region. The
craftswoman has neither art education nor
professional training, but started painting at
the age of about seventy. Taking brush, she has
found salvation and solace in creative works
after a personal tragedy – the loss of a daughter, a
husband, later – a son... It is just the period when
P. Raiko has painted her estate: surfaces in the
interiors of six rooms of a private house (ceilings,
walls, doors), as well as auxiliary buildings,
gates, fences, etc. The craftswoman has said: “I
am happy only when I paint”.
The original paintings of the master of the
late 20th – early 21st centuries are described
with the stylistics of naїve art as a complex,
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multifaceted, ambiguous phenomenon. The
works of this trend are characterized by a
bright authoress’s worldview, the absence of
a professional background, creative autonomy
in relation to the socio-cultural tradition of a
certain center [7, p. 525].
At the same time, traditional folk art, in
particular, home wall painting is among
various sources of visual folklore that feed the
phenomenon of the so-called third culture. This
ancient collective-individual artistic practice,
subordinated to the calendar rites, has ref lected
the value orientations of the collective memory
of the family in numerous variations. Over time
individual creative work has been determined
by collective experience with a pronounced
authoress’s image system and style on the basis
of home painting (due to creative repetition,
imitation and especially substitution).
Polina Raiko has been creating an
unreal art space in her own homestead, born
of her rich creative imagination, for four years.
Family portraits, sacred Christian motifs, as
well as plant, bird and zoomorphic images have
coexisted harmoniously in this picturesque
environment, combining earthly and heavenly.
The corresponding mood, theme and color
solution have prevailed in the paintings of
each room. In particular, the craftswoman has
depicted her own interpretation of Christian
plots in one of the apartments, there is a self-
portrait next to the images of the deceased
angel sisters on the opposite wall; the painter
has reproduced mainly landscapes, namely reed
beds with expressive fish motifs, the figure of
her husband in a boat on the walls of another
room.
The placement and interpretation of
individual ornamental structures and motifs
in the general artistic system of decor brings P.
Raiko’s painting closer and genetically related
to home wall paintings and other types of
creative practices in the traditional culture of
Southern Ukraine. One can feel the profound
interrelationship of the craftswoman’s work with
the home wall paintings of Khersonshchyna,
in particular those reproduced by Kostiantyn
Shyrotskyi in his well-known study of the
polychromy of housing construction in Ukraine
[10, p. 133]. This is the application of a dense
“carpet” filling by drawing all the free space of
the planes. The artist has dissolved plot and
portrait images in a weave of lush bouquets,
plants with large inf lorescences and bright buds.
Ceiling paintings by P. Raiko with a wreath
(or several wreaths) in the center, plant and
ornithomorphic motifs in the corners are also
close to the folk tradition of home painting in the
southern regions of Ukraine. Samples of similar
paintings originating from the centers of the
current Kherson, Dnipropetrovsk and Mykolaiv
regions are kept in several museum collections
of Ukraine. The affinity of drawn ribbon
compositions with the motifs of “bouquets” and
“pots” under the windows in P. Raiko’s dwelling
with local textile products can be traced.
The artist’s painting is connected with the
tradition of home paintings by the techniques
of decorating door and window openings with
paired motifs. For example, she has painted
“potted f lowers” to the entire height of the
wall on both sides of the door of one of the
rooms, she placed expressive authoress’s images
of “leopards” on both sides of the entrance to
another room. There are paired motifs of birds
with a deep symbolic meaning, located mainly
in the upper parts of walls, above windows and
doors, among P. Raiko’s favorite images.
Realizing her ideas, the artist intuitively
reproduced the colors and means of expression
typical for traditional home wall paintings: an
active blue background in the compositions, the
use of plastic lines, short strokes, small dots to
depict stylized realities – plant, ornithomorphic
motifs, etc.
Before the full-scale invasion of Russian
troops on the territory of our country, the
unique estate has been protected by the Law
of Ukraine as a monument of cultural heritage,
where cultural and artistic events have taken
place, in particular festivals and film shootings.
Expeditions have also been carried out to
Oleshky. These facts are documented in wall
paintings.
47
НАТАЛЯ СТУДЕНЕЦЬ
The artistic heritage of the craftswoman has
united and inspired the artists of Khersonshchyna
to establish Polina Raiko Charitable Fund and
the Kherson Museum of Modern Art to creative
experiments, a number of art events, including
Polina’s Dreams (Olena Afanasieva is a curator),
the project Ghosts of Polina Raiko (Natalia
Ryzhenko is a designer), workshop for creative
youth Zurich 2021: about Polina Raiko by the
Language of Comics and others [3; 9].
For example, N. Ryzhenko has created a
fashion collection combining monochrome
minimalist models of vintage clothing with
expressive linear plastic décor – her own
interpretation in a new context of recognizable
images of P. Raiko’s works. Ref lections on the
artistic heritage of the craftswoman are typical
for the other types of design practices of the
Kherson region – graphics and environment
design [3, p. 31].
The visual experience of Polina Raiko has
inspired modern artists to new ideas not only
with its figurative system and original style, but
also with a unique spatial way of self-expression.
The generalized image of a painted room from
the artist’s house as the personification of the
authoress’s creative space has been reproduced
in 2019 within the Own Space collective project
at Pinchuk Art Center (Tetiana Kochubinska,
Tetiana Zhmurko are the curators). According
to the idea, the organizers and participants of
the project have explored the art space in the
light of the position of women in the society.
It has taken place in the form of an original
dialogue between modern artistic practices and
creative phenomena of the past [6].
Two significant events have been dedicated
to Polina Raiko in 2023. They have represented
the artist’s heritage in various aspects and
perspectives. The purpose of the documentary
exhibition Polina Raiko. Disappearing in the
Ukrainian House National Center (Oleksii
Ananov, Alisa Hryshanova, Mariana Dzhulai
are the curators), which has taken place from
August 10 to September 17, is to draw society’s
attention to the cultural heritage that we have
lost and are losing in modern complex realities,
to show the need to support culture in the
conditions of war.
The works by Polina Raiko, in particular
the house wall paintings, have been represented
for the first time in such a large-scale event.
It is significant that it has taken place at the
same time as the exhibition Mariia is Drawing.
100 Unknown Works by Prymachenko from the
private collection of the art studier Eduard
Dymshyts.
The organizers have chosen the words of Lina
Kostenko “Everything goes, but not everything
passes over the banks of the eternal river” as
the epigraph to the Polina Raiko. Disappearing
exhibition. The exposition in the exhibition hall
on the second floor of the center has created an
anxious feeling of lost, disappearing images in a
half-empty space. The main bright accent is a video
installation of works by Polina Raiko and audio
accompaniment with the sounds of water flows.
The multifaceted exhibition space has been
opened by a number of digitally printed works.
The theme of Khersonshchyna f looding has
united through the graphics of Mariia Kinovych
Consequences have no Borders, Khrystyna
Tsvenher The Flooded Life, Hrasia Oliiko The
Russians have Blown up the Kakhovka HPP,
Valentyna Romanova It Hurts, Viktor Hrudakov
Morning, the Sun is Sinking in the Water as well
as Work Dedicated to Kherson by Masha Foia,
When Everything Matters by Yuliia Tveritina,
Black Water by Mitia Fieniechkin, Kakhovka
Dam by Anastasia Khomutova, Black Water by
Kateryna Stepanishcheva, Kakhovka HPP by
Dasha Podoltseva, etc.
Then the photos of Polina Raiko’s works
from the pre-war period have been represented,
highlighting the compositions, as well as iconic
images typical just for her works: Black Crow,
Mermaid, Leopards, Bug, Angel, Mountain,
etc. The photos of the paintings have been
supplemented by a short text concerning the
interpretation of these images from the words of
the artist herself. For example, the Black Crow
has symbolized a tragic fate in her life, the image
of the Mountain is the authoress’s vision of the
heavenly Paradise.
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The curators of the exhibition provide
detailed information about those who have
studied and preserved the estate-museum, and
also presented striking documentary evidences
of the consequences of the f looding of the
house. The photos show the current state of
the estate, mostly complete and sometimes
partial destruction of the paint layer on the wall
surfaces.
Documentary films about the artist have
been shown as a part of the project in addition
to the video installation with P. Raiko’s works.
These are, in particular, the film Paradise
(2006, Nadiia Koshman is a screenplay
author and director), awarded with several
international prizes. The works by Polina
Raiko in this film are revealed to the viewer
through the authentic environment in which
the craftswoman has lived, through the stories
of her sister Mariia Svystukhina and the local
priest Father Petro, as well as through the
impressions of her paintings by the professional
artist Borys Yegiazarian.
The synthesis of visual and auditory practices
in a single exhibition space has evoked the
experience of the inevitable loss of important
values in the soul of the visitor.
An equally high-profile event dedicated
to the works of Polina Raiko has lasted from
August 22 to November 30, 2023 at the Ivan
Honchar Museum National Center of Folk
Culture. The purpose of the exhibition project
with the eloquent title Special Operation “To
Destroy the Paradise” (curator is Petro Honchar)
is to support the Polina Raiko Charitable Fund
and money collection of funds for the restoration
of the estate. The project is particularly in tune
with the tragic realities of war today, when many
Ukrainians become forced migrants, losing
their homes. According to the concept of the
organizers, “the public program of the exhibition
will take place around the theme of the home as a
shelter and space for self-expression and therapy
through art – artists, soldiers and all of us, each
immersed in the war in the own way” [8].
The founders have organized the exhibition
space unconventionally, using installation tools
as a relevant genre of modern visual practices.
Photographs of Polina Raiko’s paintings,
documented by the expeditionary museum
group in 2013, have been reproduced on canvases
according to their real scale and represented in
the courtyard of the Ivan Honchar Museum.
The visitors of the exhibition have been felt
personally present in the interiors of the estate,
in individual rooms, been able to perceive them
in space, virtually enter the creative world of
Polina Raiko, stand near the painted doors in
her home and at the same time feel protected in
this peculiar blooming environment.
Last year many charity actions and events
aimed at actualizing the problem of lost cultural
heritage have taken place. The expressive
motifs of Polina Raiko’s paintings have been
reproduced on one of the shawl models of the
charity collection Stolen Art according to the
concept of the project of the Ukrainian brand
Oliz and the United 24 platform – to show the
world lost works belonging to Ukrainian culture
through mass textile products (silk shawl)
(October 2023) [1].
Conclusions. The uniqueness of the ways of
development of Ukrainian naïve art lies in the
continuity of the folk tradition of creativeness,
in the preservation of a special ethnic worldview,
in the creative replacement of collective and
individual artistic practices, which have lost
their relevance in the peasant environment,
with original ones. In today’s complex realities,
Polina Raiko’s paintings continue to exist in the
cultural space of Ukraine - in design activities,
various artistic events, exhibition projects,
returning the general public to the origins and
depths of folk art, healing, warming the soul
from the traumatic experience of today and
inspiring, restoring faith in life.
1 Після смерті Поліни Райко у 2004 році створили художники В’ячеслав Машницький та Семен Храмцов.
Примітка
49
НАТАЛЯ СТУДЕНЕЦЬ
1. ZHYLINSKA, Sofiia. The Oliz Brand and United 24 have Started a Charity Collection of Shawls “Stolen Art”. The
Village Ukraine. October 15, 2023 [online] [viewed 22 February 2024]. Available from: https://www.village.com.ua/
village/city/city-news/344373-brend-oliz-ta-united24-zapusti-blagodiynu-kolektsiyu-hustok-vikradene-mistetstvo [in
Ukrainian].
2. IVANYSHYNA, Larysa. Paradise of Polina Raiko. Cinema-Theatre, 2007, no. 1, pp. 44 [in Ukrainian].
3. PAHELS, V., Anna BILYK. Transformation of Naive Art within Visual Culture. Sociocultural Trends in the Development
of Modern Design and Art. Materials of the 7th International Theoretical and Practical Conference on September 8–10, 2021.
Kherson, 2021, pp. 31–34 [in Ukrainian].
4. PRYKHYDCHUK, Nataliia. Art Brut. Dnipro, 2016, no. 2, pp. 210–213 [in Ukrainian].
5. Raiko Polina Andriivna. The Road to Paradise: Catalogue of Works. Prefaced by Olha AFANASIEVA, Serhii
DIACHENKO; translated by O. MANKOVSKA; photos by M. AFANASIEV, Olha AFANASIEVA, Stanislav
VOLIAZLOVSKYI; Totem Center of Youth Initiatives. Kherson: Naddniprianochka: Totem, 2005, 127 pp.: ills. [in
Ukrainian, in English]
6. ANON. Own Space. October 30, 2018 – January 6, 2019 [online] [viewed 22 February 2024]. Available from:
https://pinchukartcentre.org/ua/exhibitions/sviy-prostir [in Ukrainian].
7. SELIVACHOV, Mykhailo. “Naive Art”: Formation of the Concept, Varieties and Various Names of the Phenomenon.
The Ethnological Notebooks, 2022, no. 3 (165), pp. 525–535. DOI: https://doi.org/10.15407/nz2022.03.525 [in Ukrainian].
8. ANON. Special Operation “To Destroy Paradise” [online] [viewed 22 February 2024]. Available from: https://honchar.
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Джерела та література
References
Надійшло / Received 21.02.2024
Рекомендовано до друку / Recommended for publishing 11.06.2024
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| id | nasplib_isofts_kiev_ua-123456789-203912 |
| institution | Digital Library of Periodicals of National Academy of Sciences of Ukraine |
| issn | 0130-6936 |
| language | English |
| last_indexed | 2025-11-24T11:40:36Z |
| publishDate | 2024 |
| publisher | Інститут мистецтвознавства, фольклористики та етнології iм. М.Т. Рильського НАН України |
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| spelling | Studenets, N. 2025-06-17T14:48:50Z 2024 Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects / N. Studenets // Народна творчість та етнологія. — 2024. — № 2. — С. 44–49. — Бібліогр.: 11 назв. — англ. 0130-6936 https://nasplib.isofts.kiev.ua/handle/123456789/203912 39:75.052:7.025]Райко:[341:324:355.012](470:477)“2023” https://doi.org/10.15407/nte2024.02.044 The article is devoted to the unique wall paintings in the estate museum of Polina Raiko in the town of Oleshky in the Kherson region, which has been damaged and destroyed significantly by high water as a result of the criminal detonation of the Kakhovka Hydroelectric Power Plant in June 2023 by Russian troops. The flooding of the artistic heritage of Polina Raiko has actualized several problems related to the loss of cultural monuments in the conditions of the latest challenges, causing a deep rethinking of the visual experience of naive art in modern realities. Статтю присвячено унікальним настінним розписам у садибі-музеї Поліни Райко в м. Олешки Херсонської області, що внаслідок злочинного підриву російськими військами Каховської ГЕС в червні 2023 року були суттєво пошкоджені або знищені великою водою. Затоплення художньої спадщини Поліни Райко актуалізувало низку проблем, пов’язаних з утратою пам’яток культури за умов новітніх викликів, зумовило поглиблене переосмислення візуального досвіду наївного мистецтва в сучасних реаліях. en Інститут мистецтвознавства, фольклористики та етнології iм. М.Т. Рильського НАН України Народна творчість та етнологія Розвідки та матеріали Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects Художня спадщина Поліни Райко в просторі сучасної культури: актуальні ідеї та проєкти Article published earlier |
| spellingShingle | Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects Studenets, N. Розвідки та матеріали |
| title | Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects |
| title_alt | Художня спадщина Поліни Райко в просторі сучасної культури: актуальні ідеї та проєкти |
| title_full | Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects |
| title_fullStr | Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects |
| title_full_unstemmed | Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects |
| title_short | Artistic Heritage of Polina Raiko in the Space of Modern Culture: Relevant Ideas and Projects |
| title_sort | artistic heritage of polina raiko in the space of modern culture: relevant ideas and projects |
| topic | Розвідки та матеріали |
| topic_facet | Розвідки та матеріали |
| url | https://nasplib.isofts.kiev.ua/handle/123456789/203912 |
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