Please use this identifier to cite or link to this item: http://ena.lp.edu.ua:8080/handle/ntb/40963
Title: Флоральні мотиви в архітектурі модерну Харкова
Other Titles: Floral motifs in the art nouveau architecture of Kharkiv
Authors: Коровкіна, Г. А.
Affiliation: Харківський національний університет міського господарства ім. О. М. Бекетова
Bibliographic description (Ukraine): Коровкіна Г. А. Флоральні мотиви в архітектурі модерну Харкова / Г. А. Коровкіна // Вісник Національного університету "Львівська політехніка". Серія: Архітектура. – 2016. – № 856. – С. 215–222. – Бібліографія: 11 назв.
Issue Date: 2016
Publisher: Видавництво Львівської політехніки
Country (code): UA
Place of the edition/event: Львів
UDC: 72.01
Keywords: архітектура модерну
флоральні мотиви
смислова складова
Art Nouveau architecture
floral motifs
conceptual interpretation
Number of pages: 215–222
Abstract: Розглянуто флоральні мотиви декоративного оздоблення в архітектурі модерну Харкова. This article examines floral motifs within the decorative elements of Art Nouveau architecture in Kharkiv. Stages in the formation of the Art Nouveau style are examined, as well as its interrelationship with the other arts. Of significant influence on the architecture of this period are the fine arts, theatrical performances and poetry. Art Nouveau architecture not only consolidates the achievements of these arts, but also those of manufacturing, and even the chemical industries. The author draws attention to the lack of existing research regarding the natural decorative motifs in the artistic conception of Kharkiv’s Art Nouveau architecture. Particular attention is drawn to several species of flora, whose prevalence in decorative motifs unites buildings of this style. Façades featuring chamomile flowers and daisies, executed in a number of techniques, are examined in detail. The inclusion of the sunflower, as a generalised representation of the flower head, is also reviewed. The chamomile flower, in this case, is taken to include all types of this plant, ranging from its medicinal species to its more common meadow variant. Imagery of the chamomile attracted a large number of artists and poets, as well as architects. The daisy, which may be viewed as a variety of the chamomile, has the Latin name bellus, meaning beautiful or fair. Depictions of this plant, with its elegant flower heads, symbolised peace and well-being. Images of the sunflower were likely used in reference to its abundance in producing of a large number of seeds, and thus represented prosperity and the improvement of living standards. As a result of the research undertaken, the author finds a significant number of buildings which depict the laurel, which, unlike the chamomile, is not native to Kharkiv. However, by drawing a historical analogy, the laurel wreath can be understood to symbolise victory and triumph. Its image is preserved in numerous monuments, where it crowns the temples of triumphant warriors, emperors and military leaders. In these cases, this symbol was used to represent grandeur, prominence and solemnity. Laurel wreaths were similarly presented to successful sportsmen, to singers and to poets. As a decorative element, the laurel is used in wreaths, garlands, ironwork and other architectural features. Other decorative floral elements in Kharkiv’s Art Nouveau architecture are also reviewed, among them roses, irises, bouquets and garlands. The author examines the floral themes in the Art Nouveau architecture of Kharkiv as an idiosyncratic regional feature, presenting and analysing particular characteristics of decorative floral motifs, and commenting upon the commitment of certain architects to particular botanic elements. As a result of this research, the author offers a classification of floral elements in the appearance of Art Nouveau buildings, presenting the interrelationship between their conceptual content and the objective of the building.
URI: http://ena.lp.edu.ua:8080/handle/ntb/40963
Copyright owner: © Коровкіна Г. А., 2016
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Content type: Article
Appears in Collections:Архітектура. – 2016. – №856

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