Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st.: strukturuvannja, metodolohija, chudožni pozyciï
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| Format: | Buch |
| Sprache: | Ukrainian |
| Veröffentlicht: |
Lʹviv
Ukraïnsʹki Technolohiï
2005
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| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Art education in Ukraine. - In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache |
| Beschreibung: | 526 S. zahlr. Ill. |
| ISBN: | 9663450347 |
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| 245 | 1 | 0 | |a Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. |b strukturuvannja, metodolohija, chudožni pozyciï |c Rostyslav Šmahalo |
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Datensatz im Suchindex
| _version_ | 1812724557822296064 |
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| adam_text |
ЗМІСТ
525
ВСТУП
.6
РОЗДІЛ
1.
Мистецька освіта
-
наукова субдисципліна українського
мистецтвознавства: історіографія, джерельна база, методологія
.11
РОЗДІЛ
2.
Мистецька освіта у Західній Європі та Україні середини
XIX -
середини
XX
ст.:
єдність концепції і відмінності реалізації
художньо-промислового напрямку
.23
2.1.
Мистецько-освітній рух провідних західноєвропейських країн:
ідейно-теоретичні та організаційні засади художньо-промислової освіти
.26
2.2.
Історичні передумови розвитку нових форм мистецької освіти в Україні
.41
РОЗДІЛ
3.
Ціннісні орієнтири мистецької освіти України середини
XIX -
середини
XX
ст.:
панорамний огляд явищ
.47
3.1.
Художньо-промислове шкільництво в Галичині
.49
3.1.1.
Художньо-промисловий та образотворчий напрямки мистецької освіти
.53
3.1.2.
Приватна мистецька освіта та її ефективність
.56
3.2.
Рисунок як основа мистецького вишколу: розвиток методик викладання
.65
3.3.
Мистецько-освітній рух в російсько залежних регіонах України:
антагонізм мистецької самобутності й імперського стандарту
.72
3.4.
Народні промисли і художньо-промислова освіта
.80
3.5.
Роль музеїв у становленні художньо-промислової освіти України
.104
РОЗДІЛ
4.
Історичний аналіз функціонування художньо-промислової освіти
.117
4.1.
Художньо-промислова і реміснича освіта в Східних областях України у складі Росії
. 119
4.1.1.
Художньо-реміснича освіта Полтавського, Чернігівського,
Київського губернських земств
.119
4.1.2.
Кам'янець-Подільський мистецько-освітній осередок
.132
4.2.
Вищі мистецькі школи Києва, Харкова, Одеси (1917-1930-і)
.140
4.3.
Мистецька освіта на Волині
.159
4.4.
Художньо-промислова і реміснича освіта в Галичині
.164
4.4.1.
Львівська художньо-промислова школа
(1876-1939).164
4.4.2.
Школи кераміки та гончарства
.171
4.4.3.
Школи художнього металу
.177
4.4.4.
Школи килимарства і ткацтва
.183
4.4.5.
Деревообробні школи
.194
4.5.
Косівський мистецько-освітній осередок
.204
4.6.
Мистецька освіта на Буковині
.208
4.7.
Художньо-реміснича освіта Закарпаття
.217
РОЗДІЛ
5.
Українська мистецька освіта у роки Другої світової
війни
(1939-1945)
і поза Батьківщиною (1910-1950-і
pp.)
.227
5.1.
Мистецька освіта в Україні
(1939-1945).229
5.2.
Українська мистецька освіта поза Батьківщиною (1910-1950-і)
.237
РОЗДІЛ
6.
Методологія мистецької освіти і художні особливості
творчої спадщини кінця
XIX -
середини
XX
ст.
.275
6.1.
Методологічні моделі і мистецько-ремісничий рух
(1910-1940).277
6.2.
Композиція, колір та форма в методології української мистецької освіти
.283
6.3.
Нове українське мистецтво і навчально-творча практика
.318
6.4.
Реалізація навчально-творчих завдань поза Батьківщиною
.402
ВИСНОВКИ
.457
БІБЛІОГРАФІЯ
.463
ХРОНОЛОГІЧНА ТАБЛИЦЯ
.503
ПЕРЕЛІК УМОВНИХ СКОРОЧЕНЬ
.508
ІМЕННИЙ ПОКАЖЧИК
.509
460
Conclusions
This overview of the art education process from
the middle of the 19th to the middle 20th centuries
demonstrates how various economical, social, po¬
litical and cultural factors in Europe influenced its
evolution.
The movement known as "art and the craft trade",
which originated in Western Europe in the second
half of the 19th century, spread rapidly throughout
Ukraine. It found an outlet in the development of new
trends and methods of activity, the formation of artistic
associations, museums, art education institutions and
art studios. Importantly, this process reinforced the
significance of folk art as a valuable cultural and art
form, and helped the rebirth and renewed support of
handicrafts throughout Ukraine.
The formation of an artistic and aesthetic substance
of production, mechanisms of inheritance, formation
and propagation of folk art, resulted in the appearance
of a new, qualitative and organized art trade.
With this newfound support and continuous pr¬
oduction of arts and crafts as a legitimate reflection
of culture, the movement flourished and became a
national industry.
Further evolution brought about artistic collabora¬
tion and the development of an artistic aesthetic with
regards to arts and crafts. This legitimized the view of
the artist and allowed for more expression, fresh ideas
of creativity and the ability to view their creations as
professional artistic manifestations. Numerous indivi¬
duals with aspirations of joining this movement began
enrolling in art institutions to further their knowledge
of artisantry.
The artists and craftsmen overflowing with new
enthusiasm began finding new stylistic avenues of
expression within the context of tradition. As a result,
innovative artistic products were produced which not
only were decorative and meaningful but provided the
potential for profit.
Artistic potential and collaboration was a direct
result of communication between regional art scho¬
ols, opening of art galleries where these items could
be viewed as well as further study of art in national
schools throughout the country. Also contributing to
this resurgence was the notion of Ukrainian decorative
art
-
embroidery, pysanka making, woodcarving etc.
-
as an adaptation worthy of reproduction in pictorial
work, graphic arts and sculpture.
The advancement of and enthusiasm for the arts and
crafts movement resulted in distinct styles belonging
to various cultural arts centers throughout Ukraine.
Each had its own artistic personality and avenue of
expression and each continued to perfect its own sep¬
arate features, thereby contributing to the diversity of
artistic styles.
Social and political changes provided a positive
environment for the further development of art as well
as many different forms of hand-made crafts, the for¬
mation of an arts and crafts industry and professional
artistic expression. This positive direction continued,
despite some
primitivism
socially and culturally on
the one hand, and the promise of commercial success
on the other.
Through factual analysis it is evident that museums
were the deciding factor in resolving issues of the ev¬
olution of the arts and crafts movement in the context
of the country's social and political state. One of the
museums' main directives was to document, collect and
preserve national arts and crafts. This contributed to
deeper introspection into the minds of various arts and
crafts artists and also to the dissemination of knowledge
of social-economic, historical-cultural and art processes
in various regions of the country.
Another objective of museum institutions was to
create the notion of the museum as a cultural institu¬
tion, where cultural activities could be abundant and
thereby elevate the museum in terms of social signif¬
icance. Through continuous new exhibits, museums
became an influencing factor in social aesthetics and art
appreciation and techniques. The collaborative efforts
between museums and art education institutions, which
resulted in the publication of specialized art literature,
were yet another positive outcome of the evolution of
art in Ukraine. These publications coupled with a new
approach to commercial advertising of art, permeated
society and allowed for the interest in and support of
art as a legitimate industry in Ukraine and a reflection
of national identity.
The art exhibit, not only served as a venue for cul¬
tural appreciation in Ukraine, but the exchange of art
and multicultural art exhibitions, contributed to the
development of inter-regional and international artistic
relations. Art conferences, where numerous points of
Висновки
view could be heard, also served as an important pr¬
oponent of art in Ukraine, as did the concept of an art
critique, which was only in its beginning stages.
Higher artistic institutions focused on specific fields
of artistic study, industrial artisan schools, smaller tec¬
hnical training schools (comparable to American man¬
ual training schools) and numerous other educational
outposts allowed artists many choices in broadening
their artistic education. Professional associations, night
schools, internships with various factories and artisans
that produced crafts, discussions, lectures, organized
artistic commissions, reforms and laws
-
all contributed
to the force of legitimizing art in Ukraine.
The 1920's and 1930's were a period of great su¬
pport for artistic flourishing in institutions in Kyiv,
Kharkiv, Odessa, Lviv and Prague. In these cities fine
arts received great support, which paved the way for
the formation of a national system of art education.
Historical circumstances resulted in art education be¬
coming reliant on government support and no longer
on that of patronage.
(In the
1
920's and 1930's art schools opened in Kyiv,
Kharkiv, Odessa, Lviv and Prague, which supported
the development of Ukrainian art, giving basis for
the formation of a national system of art education.
Looking back, we find that art education was not able
to flourish relying solely on the support of benefactors
without the support of government.)
Art education was a tool for widespread educational
activities, based in general and specialized schools and
in museums. As a basis for this approach was national
cultural education, which helped form art education
based on folk traditions and professional art.
The last five years of research have led me to the con¬
cept of art education beyond Ukraine's borders, namely
during the period of from
1910
to the
1
950's. The core
of my findings came from archives and museum mate¬
rials from Prague, Vienna, New York, Cleveland, Ohio
and Stamford, Connecticut, among others. These vast
materials serve as evidence of highly successful and
active educational establishments formed by Ukrainian
immigrants in the Czech Republic, France, Germany
and the United States of America.
The unique situation of the Ukrainian immigrant
living in a foreign land provoked a need to retain an
artistic and cultural tie to his/her homeland. Through
examination of these various educational establish¬
ments beyond Ukraine's borders, it is clear that the
formation of Ukrainian communities in the Diaspora
was an uninterrupted continuation of the art education
process. Regardless of the specific stages
-
the period
between the two World Wars, the Displaced Person
years after World War II or the formation of immigrant
life in the United States and Canada
-
Ukrainian art
and culture flourished on foreign soil in the 20th cen¬
tury. Based on academic traditions of the Ukrainian
art school, art processes in the Diaspora during the first
half of the 20th century continued its clear and steady
development.
Art education of that period was also enriched by
ideas and solidified by a mobile sub-discipline
-
art
criticism.
I should also mention one other very interesting concl¬
usion based on my research. Throughout the middle 19th
to middle 20th centuries, art education in Ukraine became
recognized as an integral part of culture, and contributed
to the realization of new artistic avenues. These realiza¬
tions, fueled by the European arts and crafts movement,
solidified the idea of art education as a legitimate field
of study in Ukraine, which therefore contributed to the
progression of art education beyond its borders.
Ukrainian art in this particular time frame was in a
constant state of transformation and sought to incorp¬
orate traces of the ever-changing social climate. Art's
purpose, I believe, was to carve out a place in history
and play a deciding role in forming a new consciou¬
sness, even in less pliable arts like architecture and
metalworking.
The manifestations of various artistic points of view
-
from the folk art traditions to the
Avant
Garde and
Modernist
-
were evident in the works produced by
arts and decorative craft artists. Specifically affected
works were in graphic arts, ceramics, kelim weaving,
blacksmithing and enameling. This variety was further
propagated by art education institutions, which suppo¬
rted more than ever, encouragement for the exploration
of artistic boundaries.
As mentioned above, the status of art education
changed. This so-called strategic art form, which
had deep traditions, reformed during the process of
various changes, and at the same time accumulating
various art and cultural processes with their numerous
ideological and
art
doctrines influenced by war and
other upheavals
461
Мистецька освіта в Україні середини
XIX -
середини
XX
ст.
462
As an example, such an important subject as "art
education beyond the borders of Ukraine," did not
become a required course in education programs (only
Lviv's National Academy of Art included this course),
even though it is part of Ukrainian art education. It
is a valuable and fruitful area of study, necessary to
understand Ukrainian and European art education
processes. There are many such aspects on which the
quality of the art education process should be based in
educating qualified experts.
We can come to the conclusion that Ukrainian art
education has a solid base for encouraging art education
research, as an autonomous sub-discipline. As a sub-
discipline of art history, art education has all the sci¬
entific-theoretical parameters, among which the most
important is the subject of research and methodology
of research. Argumentation in this work proves that
there are numerous reasons and arguments for further
perfection of an art education process in Ukraine in
the interest of art.
Research, connected to the development of art ed¬
ucation, is an independent, solid sub-discipline of art
history education and is awaiting official acknowledg¬
ement of its status in the art education field, primarily
by government standards which qualify the direction
of scientific research.
The material in this publication, unequivocally
proves that despite all the shakeups which Ukrainian
art experienced, even to the extent of the destruction
of its existence, art education always remained the
one fortress of hope, which guarded and defended its
interests.
Висновки |
| adam_txt |
ЗМІСТ
525
ВСТУП
.6
РОЗДІЛ
1.
Мистецька освіта
-
наукова субдисципліна українського
мистецтвознавства: історіографія, джерельна база, методологія
.11
РОЗДІЛ
2.
Мистецька освіта у Західній Європі та Україні середини
XIX -
середини
XX
ст.:
єдність концепції і відмінності реалізації
художньо-промислового напрямку
.23
2.1.
Мистецько-освітній рух провідних західноєвропейських країн:
ідейно-теоретичні та організаційні засади художньо-промислової освіти
.26
2.2.
Історичні передумови розвитку нових форм мистецької освіти в Україні
.41
РОЗДІЛ
3.
Ціннісні орієнтири мистецької освіти України середини
XIX -
середини
XX
ст.:
панорамний огляд явищ
.47
3.1.
Художньо-промислове шкільництво в Галичині
.49
3.1.1.
Художньо-промисловий та образотворчий напрямки мистецької освіти
.53
3.1.2.
Приватна мистецька освіта та її ефективність
.56
3.2.
Рисунок як основа мистецького вишколу: розвиток методик викладання
.65
3.3.
Мистецько-освітній рух в російсько залежних регіонах України:
антагонізм мистецької самобутності й імперського стандарту
.72
3.4.
Народні промисли і художньо-промислова освіта
.80
3.5.
Роль музеїв у становленні художньо-промислової освіти України
.104
РОЗДІЛ
4.
Історичний аналіз функціонування художньо-промислової освіти
.117
4.1.
Художньо-промислова і реміснича освіта в Східних областях України у складі Росії
. 119
4.1.1.
Художньо-реміснича освіта Полтавського, Чернігівського,
Київського губернських земств
.119
4.1.2.
Кам'янець-Подільський мистецько-освітній осередок
.132
4.2.
Вищі мистецькі школи Києва, Харкова, Одеси (1917-1930-і)
.140
4.3.
Мистецька освіта на Волині
.159
4.4.
Художньо-промислова і реміснича освіта в Галичині
.164
4.4.1.
Львівська художньо-промислова школа
(1876-1939).164
4.4.2.
Школи кераміки та гончарства
.171
4.4.3.
Школи художнього металу
.177
4.4.4.
Школи килимарства і ткацтва
.183
4.4.5.
Деревообробні школи
.194
4.5.
Косівський мистецько-освітній осередок
.204
4.6.
Мистецька освіта на Буковині
.208
4.7.
Художньо-реміснича освіта Закарпаття
.217
РОЗДІЛ
5.
Українська мистецька освіта у роки Другої світової
війни
(1939-1945)
і поза Батьківщиною (1910-1950-і
pp.)
.227
5.1.
Мистецька освіта в Україні
(1939-1945).229
5.2.
Українська мистецька освіта поза Батьківщиною (1910-1950-і)
.237
РОЗДІЛ
6.
Методологія мистецької освіти і художні особливості
творчої спадщини кінця
XIX -
середини
XX
ст.
.275
6.1.
Методологічні моделі і мистецько-ремісничий рух
(1910-1940).277
6.2.
Композиція, колір та форма в методології української мистецької освіти
.283
6.3.
Нове українське мистецтво і навчально-творча практика
.318
6.4.
Реалізація навчально-творчих завдань поза Батьківщиною
.402
ВИСНОВКИ
.457
БІБЛІОГРАФІЯ
.463
ХРОНОЛОГІЧНА ТАБЛИЦЯ
.503
ПЕРЕЛІК УМОВНИХ СКОРОЧЕНЬ
.508
ІМЕННИЙ ПОКАЖЧИК
.509
460
Conclusions
This overview of the art education process from
the middle of the 19th to the middle 20th centuries
demonstrates how various economical, social, po¬
litical and cultural factors in Europe influenced its
evolution.
The movement known as "art and the craft trade",
which originated in Western Europe in the second
half of the 19th century, spread rapidly throughout
Ukraine. It found an outlet in the development of new
trends and methods of activity, the formation of artistic
associations, museums, art education institutions and
art studios. Importantly, this process reinforced the
significance of folk art as a valuable cultural and art
form, and helped the rebirth and renewed support of
handicrafts throughout Ukraine.
The formation of an artistic and aesthetic substance
of production, mechanisms of inheritance, formation
and propagation of folk art, resulted in the appearance
of a new, qualitative and organized art trade.
With this newfound support and continuous pr¬
oduction of arts and crafts as a legitimate reflection
of culture, the movement flourished and became a
national industry.
Further evolution brought about artistic collabora¬
tion and the development of an artistic aesthetic with
regards to arts and crafts. This legitimized the view of
the artist and allowed for more expression, fresh ideas
of creativity and the ability to view their creations as
professional artistic manifestations. Numerous indivi¬
duals with aspirations of joining this movement began
enrolling in art institutions to further their knowledge
of artisantry.
The artists and craftsmen overflowing with new
enthusiasm began finding new stylistic avenues of
expression within the context of tradition. As a result,
innovative artistic products were produced which not
only were decorative and meaningful but provided the
potential for profit.
Artistic potential and collaboration was a direct
result of communication between regional art scho¬
ols, opening of art galleries where these items could
be viewed as well as further study of art in national
schools throughout the country. Also contributing to
this resurgence was the notion of Ukrainian decorative
art
-
embroidery, pysanka making, woodcarving etc.
-
as an adaptation worthy of reproduction in pictorial
work, graphic arts and sculpture.
The advancement of and enthusiasm for the arts and
crafts movement resulted in distinct styles belonging
to various cultural arts centers throughout Ukraine.
Each had its own artistic personality and avenue of
expression and each continued to perfect its own sep¬
arate features, thereby contributing to the diversity of
artistic styles.
Social and political changes provided a positive
environment for the further development of art as well
as many different forms of hand-made crafts, the for¬
mation of an arts and crafts industry and professional
artistic expression. This positive direction continued,
despite some
primitivism
socially and culturally on
the one hand, and the promise of commercial success
on the other.
Through factual analysis it is evident that museums
were the deciding factor in resolving issues of the ev¬
olution of the arts and crafts movement in the context
of the country's social and political state. One of the
museums' main directives was to document, collect and
preserve national arts and crafts. This contributed to
deeper introspection into the minds of various arts and
crafts artists and also to the dissemination of knowledge
of social-economic, historical-cultural and art processes
in various regions of the country.
Another objective of museum institutions was to
create the notion of the museum as a cultural institu¬
tion, where cultural activities could be abundant and
thereby elevate the museum in terms of social signif¬
icance. Through continuous new exhibits, museums
became an influencing factor in social aesthetics and art
appreciation and techniques. The collaborative efforts
between museums and art education institutions, which
resulted in the publication of specialized art literature,
were yet another positive outcome of the evolution of
art in Ukraine. These publications coupled with a new
approach to commercial advertising of art, permeated
society and allowed for the interest in and support of
art as a legitimate industry in Ukraine and a reflection
of national identity.
The art exhibit, not only served as a venue for cul¬
tural appreciation in Ukraine, but the exchange of art
and multicultural art exhibitions, contributed to the
development of inter-regional and international artistic
relations. Art conferences, where numerous points of
Висновки
view could be heard, also served as an important pr¬
oponent of art in Ukraine, as did the concept of an art
critique, which was only in its beginning stages.
Higher artistic institutions focused on specific fields
of artistic study, industrial artisan schools, smaller tec¬
hnical training schools (comparable to American man¬
ual training schools) and numerous other educational
outposts allowed artists many choices in broadening
their artistic education. Professional associations, night
schools, internships with various factories and artisans
that produced crafts, discussions, lectures, organized
artistic commissions, reforms and laws
-
all contributed
to the force of legitimizing art in Ukraine.
The 1920's and 1930's were a period of great su¬
pport for artistic flourishing in institutions in Kyiv,
Kharkiv, Odessa, Lviv and Prague. In these cities fine
arts received great support, which paved the way for
the formation of a national system of art education.
Historical circumstances resulted in art education be¬
coming reliant on government support and no longer
on that of patronage.
(In the
1
920's and 1930's art schools opened in Kyiv,
Kharkiv, Odessa, Lviv and Prague, which supported
the development of Ukrainian art, giving basis for
the formation of a national system of art education.
Looking back, we find that art education was not able
to flourish relying solely on the support of benefactors
without the support of government.)
Art education was a tool for widespread educational
activities, based in general and specialized schools and
in museums. As a basis for this approach was national
cultural education, which helped form art education
based on folk traditions and professional art.
The last five years of research have led me to the con¬
cept of art education beyond Ukraine's borders, namely
during the period of from
1910
to the
1
950's. The core
of my findings came from archives and museum mate¬
rials from Prague, Vienna, New York, Cleveland, Ohio
and Stamford, Connecticut, among others. These vast
materials serve as evidence of highly successful and
active educational establishments formed by Ukrainian
immigrants in the Czech Republic, France, Germany
and the United States of America.
The unique situation of the Ukrainian immigrant
living in a foreign land provoked a need to retain an
artistic and cultural tie to his/her homeland. Through
examination of these various educational establish¬
ments beyond Ukraine's borders, it is clear that the
formation of Ukrainian communities in the Diaspora
was an uninterrupted continuation of the art education
process. Regardless of the specific stages
-
the period
between the two World Wars, the Displaced Person
years after World War II or the formation of immigrant
life in the United States and Canada
-
Ukrainian art
and culture flourished on foreign soil in the 20th cen¬
tury. Based on academic traditions of the Ukrainian
art school, art processes in the Diaspora during the first
half of the 20th century continued its clear and steady
development.
Art education of that period was also enriched by
ideas and solidified by a mobile sub-discipline
-
art
criticism.
I should also mention one other very interesting concl¬
usion based on my research. Throughout the middle 19th
to middle 20th centuries, art education in Ukraine became
recognized as an integral part of culture, and contributed
to the realization of new artistic avenues. These realiza¬
tions, fueled by the European arts and crafts movement,
solidified the idea of art education as a legitimate field
of study in Ukraine, which therefore contributed to the
progression of art education beyond its borders.
Ukrainian art in this particular time frame was in a
constant state of transformation and sought to incorp¬
orate traces of the ever-changing social climate. Art's
purpose, I believe, was to carve out a place in history
and play a deciding role in forming a new consciou¬
sness, even in less pliable arts like architecture and
metalworking.
The manifestations of various artistic points of view
-
from the folk art traditions to the
Avant
Garde and
Modernist
-
were evident in the works produced by
arts and decorative craft artists. Specifically affected
works were in graphic arts, ceramics, kelim weaving,
blacksmithing and enameling. This variety was further
propagated by art education institutions, which suppo¬
rted more than ever, encouragement for the exploration
of artistic boundaries.
As mentioned above, the status of art education
changed. This so-called strategic art form, which
had deep traditions, reformed during the process of
various changes, and at the same time accumulating
various art and cultural processes with their numerous
ideological and
art
doctrines influenced by war and
other upheavals
461
Мистецька освіта в Україні середини
XIX -
середини
XX
ст.
462
As an example, such an important subject as "art
education beyond the borders of Ukraine," did not
become a required course in education programs (only
Lviv's National Academy of Art included this course),
even though it is part of Ukrainian art education. It
is a valuable and fruitful area of study, necessary to
understand Ukrainian and European art education
processes. There are many such aspects on which the
quality of the art education process should be based in
educating qualified experts.
We can come to the conclusion that Ukrainian art
education has a solid base for encouraging art education
research, as an autonomous sub-discipline. As a sub-
discipline of art history, art education has all the sci¬
entific-theoretical parameters, among which the most
important is the subject of research and methodology
of research. Argumentation in this work proves that
there are numerous reasons and arguments for further
perfection of an art education process in Ukraine in
the interest of art.
Research, connected to the development of art ed¬
ucation, is an independent, solid sub-discipline of art
history education and is awaiting official acknowledg¬
ement of its status in the art education field, primarily
by government standards which qualify the direction
of scientific research.
The material in this publication, unequivocally
proves that despite all the shakeups which Ukrainian
art experienced, even to the extent of the destruction
of its existence, art education always remained the
one fortress of hope, which guarded and defended its
interests.
Висновки |
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| author | Šmahalo, Rostyslav Tarasovyč 1965- |
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| era | Geschichte 1850-1950 gnd |
| era_facet | Geschichte 1850-1950 |
| format | Book |
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| geographic | Ukraine (DE-588)4061496-7 gnd |
| geographic_facet | Ukraine |
| id | DE-604.BV022247545 |
| illustrated | Illustrated |
| index_date | 2024-07-02T16:38:16Z |
| indexdate | 2024-10-12T16:00:53Z |
| institution | BVB |
| isbn | 9663450347 |
| language | Ukrainian |
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| oclc_num | 645451995 |
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| physical | 526 S. zahlr. Ill. |
| publishDate | 2005 |
| publishDateSearch | 2005 |
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| publisher | Ukraïnsʹki Technolohiï |
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| spelling | Šmahalo, Rostyslav Tarasovyč 1965- Verfasser (DE-588)1124802800 aut Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï Rostyslav Šmahalo Lʹviv Ukraïnsʹki Technolohiï 2005 526 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier PST: Art education in Ukraine. - In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache Geschichte 1850-1950 gnd rswk-swf Kunsterziehung (DE-588)4033637-2 gnd rswk-swf Ukraine (DE-588)4061496-7 gnd rswk-swf Ukraine (DE-588)4061496-7 g Kunsterziehung (DE-588)4033637-2 s Geschichte 1850-1950 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015458379&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015458379&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Šmahalo, Rostyslav Tarasovyč 1965- Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï Kunsterziehung (DE-588)4033637-2 gnd |
| subject_GND | (DE-588)4033637-2 (DE-588)4061496-7 |
| title | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï |
| title_auth | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï |
| title_exact_search | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï |
| title_exact_search_txtP | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï |
| title_full | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï Rostyslav Šmahalo |
| title_fullStr | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï Rostyslav Šmahalo |
| title_full_unstemmed | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. strukturuvannja, metodolohija, chudožni pozyciï Rostyslav Šmahalo |
| title_short | Mystecʹka osvita v Ukraïni seredyny XIX - seredyny XX st. |
| title_sort | mystecʹka osvita v ukraini seredyny xix seredyny xx st strukturuvannja metodolohija chudozni pozycii |
| title_sub | strukturuvannja, metodolohija, chudožni pozyciï |
| topic | Kunsterziehung (DE-588)4033637-2 gnd |
| topic_facet | Kunsterziehung Ukraine |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015458379&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015458379&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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