Орнітоморфні мотиви в оздобленні дибинецької кераміки хіх–хх століть
Ornithomorphic motifs in decoration of dybyntsi ceramics in nineteenth and twentieth centuries

Summary/Abstract: This article is devoted to the studies of leading ornitomorphic motifs that used for decoration products by potters from Dybyntsi village located in Boguslav district of Kyiv region in the nineteenth and twentieth centuries. Represented the basic information about the origin, formation and development of handicrafts in this potter’s center and conducted characterization of Dybyntsi’s ceramic products and stylistic features of their decorating. Defined the four groups of Dybyntsi’s pottery where were used the decoration by ornitomorphic motifs. The first and largest group is painted utensils (plates, bowls, makitras, covers for bowls and toy plates), second is sculpts and sculptural works (whistles, whistle-sculptures). The third group is hoods of chimneys, and the fourth is "accessories" and marginal products (candlesticks, salt shakers, piggy banks, etc.). The bowls were mostly painted by magpies, roosters, uncertain birds, double-headed "eagle", turkeys, nightingales, sometimes with the appropriate signatures. The whistles and whistlesculptures were produced in the form of cockerels, ducks, cuckoos, magpies, fantastic and uncertain birds. In the hoods of chimneys were attached sculpts figures of birds that were like sit in the "crown". The products of the fourth group had different variations in decoration: from drawing bird with slipware to ornitomorphic motifs in formation. It is proved that the majority of the painting pottery of this potter’s center was made by contour painting, without any hint of spatiality or perspective. Based on a detailed analysis of all the stored samples, which are decorated with a picture of a bird, that we could find in museum collections and during expeditions to Dybyntsi, was developed the classification of birds by type: rooster, chicken, double-headed "eagle", turkey, kobets, nightingale, magpie, peahen , swans, geese, ducks, fantastic and uncertain birds. All types were detailed analyzed and compared with similar images from other Dybyntsi’s authors. Were selected the peculiarities of drawing each of these types of birds, the colors in which they are made, the specific combination of background and connections of plant, geometric and ornitomorphic motifs. In particular, among the most used in decorating by bird are images of roosters, doubleheaded "eagle" and magpies. The roosters were portrayed by each author and in different periods in different ways – in the beginning of twentieth century it was without contour painting of walking proud rooster or massive sitting rooster, holding a sprig of similar to a tulip flower. The image of this one entrenched in Dybyntsi’s tradition and the using of red-blooded rooster with lush tail and comb continued until the eighties of twentieth century. The article suggested the appearance of an image of double-headed "eagle" in traditional ceramics as a symbol of the Russian Empire, which is reflected in the decoration of Dybyntsi’s plates, bowls and candlesticks in the beginning of twentieth century. The image of magpie prevails in the decoration of the bowls to the mid-twentieth century and it was one of the most common murals without contour. From the most striking example of Dybyntsi’s ceramic works taken from the collections of Left Bank museum was selected the main features of the most famous masters of creative writing that was used images of birds in the decoration of their works. In particular, Kalenyk Masuk (1878– 1933), who painted bird with a red belly and brown head and graceful tail, whose neck was adorned with white dots in the form of beads on toy bowl. The example of the dark brown stoneware candlestick help to analyzed using a doubleheaded "eagle" in the work of Ivana Knyzhnyka (?–?). It was described the birds of Gerasim Garnaga (1901–1964) – the blooded and massive, with rounded belly and on the bent legs. Their heads was imaged straight or slightly tilted downwards, at their acute beak was a flower or twig. It was highlighted the sufficiently detailed and uniform implementation of feathers with green, orange or brown slipware and decoration the bird neck in one color. Was analyzed the combination of zoomorphic and ornitomorphic motifs in the works of Iakova Slokvy (?–?) that evidenced by the use of image of ripe bird with a round belly and a little hunchback back, which has a greenish-brown tail, thickened at the edges and open rounded beak that looks like a fish head. Master Mykhailo Morhun (1876–1978), among other things, portrayed the green-white-brown bird with a distinctive turkey nose and lush green-brown tail in light brown clay. Was discovered the similarities between the birds portrayed by Tymofiy Tsyurupa (?–?) and Arion Startsev (1891–1976), that is the drawing the dark brown, white and red-brown magpies between arrows, lines, curls and twigs on white, light or dark brown background. Was noticed the innovation and experimentation by Mykhailo Tarasenko (1921–?) in decorating his pottery based on the examples of makitra with two rows of small white swans, two bowls depicting a rooster and a hen, whistles and whistle-sculptures in the form of fantastic birds on three legs and on a piggy bank depicting a peahen.

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