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The Ethnology Notebooks, 2018, № 5 (143), 1298—1307

UDK 766:7.012-027.3(477)

DOI https://doi.org/10.15407/nz2018.05.1298

Received  16.06.2018

FOLK ORNAMENT AS A SYMBOL OF UKRAINIAN IDENTITY |IN GRAPHIC DESIGN OF THE USSR AND DIASPORA IN 1945—1989

ORCID ID https://orcid.org/0000-0002-8826-0135

Kosiv Vasyl Mykhailovych, Candidate of Art Studies, Associate Professor

of the Department of Graphic Design

of Lviv National Academy of Arts.

Kubiiovycha Street 38, 79011, Lviv, Ukraine.

Contacts: vasylkosiv@yahoo.com

Abstrakt. By comparing the examples of the Soviet Ukrainian posters and periodicals covers of the diaspora of 1945—1989, the article clarifies the peculiarities of using folk ornament as a means of national identification. Being at all levels of the composition and communication hierarchy, folk ornament in graphic design was one of the most flexible symbols. Authors` focus on a small number of embroidery and folk painting motives ensured recognition and expanded its semantic capabilities. As a result, the same ornaments were used in Soviet Ukraine and the Ukrainian diaspora, similar methods and means were popular, while the ideology of the message was opposite.

Keywords: folk ornament, graphic design, Ukrainian identity, Soviet Ukraine, Ukrainian diaspora, posters, periodicals covers.

REFERENCES

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Transcript from January 12, 1967. Discussion on the Exhibition of Political Posters. // CSAMLAU. F. 581. National Union of Artists. Op. 1. Spr. 1396. — Ark. 1–50. [In Ukrainian and Russian].
Second Republican Exhibition of Posters, April 18, 1974. // CSAMLAU. F. 986. Directorate of Exhibitions, National Union of Artists. Op. 1. Spr. 125. Ark. 1–25 [In Ukrainian and Russian].
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