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The Ethnology Notebooks. 2024. № 6 (180), 1641—1658

UDK 7.071.5(520=161.2)”193″

DOI https://doi.org/10.15407/

JAPANESE PLEIN-AIR PAINTINGS OF UKRAINIAN ARTISTS IN THE FIRST THIRD OF THE 20TH CENTURY

RYBALKO Svitlana

  • ORCID ID: https://orcid.org/0000-0001-5873- 2421
  • Doctor of Art History, Professor,
  • Professor of the Department of Art History,
  • Kharkiv State Academy of Culture,
  • 4 Burstskyi Uzviz St., 61000 Kharkiv, Ukraine,
  • Contacts: e-mail: rybalko.svetlana62@gmail.com

NOMURA Chieko

  • Candidate of Art History, Independent Researcher,
  • Tokyo, Japan

Abstract. The article examines the pictorial and graphic representations of Japan in the works of artists from the first third of the 20th century. The authors focus on the works of artists whose careers were, at different points in their lives, linked to Ukraine: Sergey Shcherbakov, Nikolay Nedashkovsky, David Burliuk, Viktor Palmov, and Vaclav Fiala. The range of works analyzed includes plein air paintings that directly reflect their impressions of the country, its nature, and its culture.

Unlike previous studies focused on David Burliuk’s futuristic painting and his influence on Japanese modernists of the time, this study aims to highlight the images of Japan created by these artists and contextualize them, considering the diversity of trends in Japanese art and the Ukrainian background. To achieve the study’s objectives, the authors employed methods of historical and chronological reconstruction, formal and stylistic analysis, as well as comparative and content analysis.

The results of the study show that the artists sought to recreate the Kharkiv studio life in Japan. On the one hand, this highlights the disappearance of entire cultural circles from the city’s map, while on the other, it revises the general perception of Burliuk and Palmov’s Japanese journey through the lens of futurism. Their fascination with Japan’s exotic nature and their desire to capture their impressions of the country led to the plein air nature of most of their works, which did not align well with futurist ideologies. A brief trip to Oshima, combined with a lack of knowledge of the language and local context, contributed little to the already established Japanese literary and artistic «Oshima text» of the 1920s. However, Ogasawara, with its pre-war appearance and way of life, was presented to the world thanks to the Ukrainian artists. The sketches and drawings made during their trips to the so-called «inner Japan» reflect a keen interest in the country’s culture and everyday life.

Keywords: Kharkiv art circles, painting, graphics, cultural dialogue, Ukrainian art, Japanese art, plein air, image of Japan.

Received 16.12.2024

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