"Архіви України"
№ 1 (289) / 2014

L. Ljubarska

IMAGE OF TARAS SHEVCHENKO AND HIS EPOCH
IN PHOTOGRAPHS FROM THE COLLECTION OF THE TSDKFFA OF UKRAINE
NAMED AFTER H. PSHENYCHNYI

There are characterized photo documents from the fonds of the Central State CinePhotoPhono Archives of Ukraine named after H. Pshenychnyi dedicated to the 200th birth anniversary of Taras Shevchenko.

Key words: photo document; archives; collection; Taras Shevchenko.

According to its specifics and content of the archival fonds the Central State CinePhotoPhono Archives of Ukraine named after H. Pshenychnyi makes a lot of presentations and other events dedicated to the 200th birth anniversary of Taras Shevchenko.

There was made a selection of photographs to commemorate the anniversary of the poet. Among the other types of audiovisual media these ones are of special value as the only lifetime, play-to-play witnesses of Shevchenko and historical context of his epoch. Of course, these exclusive photographs are not numerous and count barely a dozen (we know about eleven photos).

The rest of documents allow considering the Shevchenko’s personality phenomenon, his life and work. Or rather, they are visible markers and characteristics of perception and appropriation by each generation of their own Shevchenko. There are hundreds of these photos. With the help of these documents we can genuinely trace the features of appearance of the image in chronological order according to the socio-cultural and regional requests, formal canons and dogmatic interpretations as well as artistic comprehension and true and living understanding from the very "bottom" until the apocryphal domestication.

Image of Shevchenko looks so different when represented on the official format posters or at the exposition halls, framed in rushniks at the country meetings or set among the national flags in the capital, as a monument in Canada and Moscow, during the street demonstration dispersal in 1914 or manifestations in 1990s…

The state and public museums are the neighbors of the same kind. Staring look on the numerous archival photographs cause involuntarily comparison with monumental bronze and stone statues performed by the socialist-realist aesthetic canons, and photos with his contemporaries guessable by the images of family and friends, stage personification of thoughts and emotions, in real interest of book markets visitors and sincere sorrow during the memorial service at St. George Church, when the expression of eyes and expressive postures can brake stiffened canons and encourage new apprehension of Shevchenko as a Person and an Artist.

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