REALISTIC FORM OF REPRODUCTION IN THE SIGN-SYMBOLIC SYSTEM OF THE FEDIR KRYCHEVSKY’ S (TRIPTYCH “LIFE”)

Abstract

The purpose of the article is to study the peculiarities of transforming a realistic form into a sign-symbolic system in Fedir Krychevsky’ s triptych “Life”. The research methodology is oriented towards a synthetic approach to studying the artist’ s style and a comparative method in analyzing the artistic work’ s compositional structure. The scientific novelty lies in highlighting the process of transforming realistic form with features of monumentality into the compositional structure of Fedir Krychevsky’ s triptych “Life”. The possibilities of implementing it into the sign-symbolic system of the artwork are studied. Conclusions. In the triptych “Life” by Fedir Krychevsky, the complex task of combining realistic form with sign-symbolic principles into a single integrated compositional system is solved. The artist embodies the generalized life path of a peasant family with its joyful and at the same time tragic experiences. The triptych’ s compositional solution and structural construction are based on the principle of fresco construction. The triptych approaches mural painting with its flat rhythm of decorative generalized forms. Fedir Krychevsky moves away from passive naturalistic reproduction and categorically rejects the illusion of external plausibility. The sign-symbolic content in the painting is expressed through its plastic system of composition and form formation, in which the meaning of the painting is read, and its symbolism and significance are perceived. The architecture of all the components of the painting gives a sense of three-dimensionality of space and, conversely, two-dimensionality, simplification. The movement towards monumentality determines the purposefulness of all his searches, providing the basis for embodying such a deeply philosophical theme.