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НАШЕ ЖИТТЯ • Січень-Лютий 2024 13 РОЗВИВАЄМО • CULTIVATE At the Ukrainian Museum: Celebrating the Pysanka Ukrainian Easter eggs are part of an ancient tradition that originated in pagan times but was transformed through religious syncretism into the Christian Easter egg. Some versions of these elaborately decorated eggs have retained their pagan symbolism, while others have added Christian symbols and motifs, such as crosses or church - es. Traditional ornamentation can be differentiated by colors, division lines, and motifs. The most common sym - bols and motifs used are the sun/star, eternity, plants (including the tree of life), animals, and symbols derived from a triangle. Egg decoration in Ukraine is widespread and displays a regional stylistic variation. Folk cultures around the world con - sider the egg a symbol of springtime and rebirth. In the Ukrainian tradition, pysanky (plural of pysanka) were used for various social and religious occasions and believed to be a talisman, a form of protection against evil, as well as harbin - gers of good. Today, they are a wonder - ful gift of life with deep meaning. About the exhibition Craft and De - sign: Pysanky How do the terms “beauty’” and “cul - ture” function relative to one another in various disciplines, including craft and design? Various art historical models are often used to frame the cultural expres - sions of a singular community. Traditional Ukrainian arts and crafts, or folk art, include decorative painting, embroidery, pottery, textile weaving, woodworking, and egg decorating, with styles and designs particular to dif - ferent regions of Ukraine. A majority of these crafts were traditions that origi - nated and flourished in rural areas and villages. Various symbols and meanings The Ukrainian Museum in New York is celebrating the iconic pysanka (Easter egg) with its exhibition Craft and Design: Pysanky , on view through April 21. from both the pre-Christian and Christian eras intertwined with each other. Kilims, textiles, and ceramics were incorporated into every home not only as decorative elements, but as family tradi - tions and history. All the objects in the home were interconnected aesthetically; nothing existed on its own. A key component of Ukrainian folk art is the pysanka, whose crafting dates back to prehistoric Trypillian culture. The word comes from the Ukrainian verb pysaty , to write. At first glance, pysanky appear to be well-designed, beautiful self-reflections of the maker. But their rhetoric has an underhand - ed virtuosity, capable of producing unexpected effects. As the modernist architect Le Corbusier once remarked, the purpose of a home and its design is to move us. Pysanka artisans, then, consistently realize architecture's highest aim: they create works whose extraordinary power lies not only in how deeply they make us feel, but also in how they let us see the complexity of our feel - ings, in meaningful environments that help us live or dwell. Currently, we live in a world with a focus on the individual and on all the goings-on of individual issues. The exhibition Craft and Design: Pysanky , curated by Ukrainian Museum director Peter Doroshenko, raises questions such as, What is beauty? How does the pinnacle of Ukrainian folk culture, the pysanka, position itself within design? In which spaces did these objects originate? Can these beautiful eggs raise visitors’ spirits? This begins to unravel the subtle elements of beauty, with various definitions of the word. www.theukrainianmuseum.org THE UKRAINIAN MUSEUM 222E6NYC
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