ОРНАМЕНТИКА ТКАЦЬКИХ ВИРОБІВ НАСЕЛЕННЯ УКРАЇНСЬКО-МОЛДОВСЬКОГО ПОРУБІЖЖЯ: ТРАДИЦЙНЕ І НОВАЦІЙНЕ
THE WEAVING PRODUCTS` ORNAMENTATION OF THE MOLDOVAN-UKRAINIAN BORDERLAND: TRADITIONAL AND NOVATIVE

Summary/Abstract: The article deals with the weaving products of one of the northern districts of the Odesa region in the Moldovan-Ukrainian borderland area. Attention has been paid to the issue of cultural attribution of home-made weaving products, progress trends of ornamentation within a given period of time. The analysis of the ornamentation shows that active intercultural communication was accompanied by a complex process of intensive acculturation of Moldovan traditional weaving along with simultaneous penetration into the Ukrainian tradition, the formation of syncretic variable compositional patterns inherent in the products of the borderland. The weaving products` ornamentation and their nomenclature reflect the interplay between Ukrainian and Moldovan traditions which as early as the 19th century, in conditions of living together independently Ukrainian and Moldovan, as well as ethnically mixed settlements, were identified as those of Ukrainian and Moldovan. In particular, Moldovan traditions are reflected primarily in the names of products: “par(l)atary”, “kadreli”, “nafran(m)ytzia” With the deepening of the process of acculturation, syncretic regional ornamental complexes with the gradual loss of double identification were formed from the traditional for Ukrainians and Moldovans motifs and compositions. Local ethno-cultural expression can also be traced in the transformation of composition patterns. They are mostly different among Ukrainians and Moldovans, even in neighboring villages. The formation of variation is gradual. Thus, at the time the Moldovans moved to the left bank of the Dniester, the paratary ornamentation evolved during the last quarter of the 19th - the first half of the 20th c.c. from the geometrical patterns up to those of naturalistic under the influence of at least three traditions: Moldovan, local, mostly Ukrainian from Kodyma masters, and Ukrainian from Podillya . Since the late 19th century there has been a dynamic increas in the semantic content and composition patterns, a gradual transition in the second half of the 19th -early 20th c.c. from the dominant geometrical “the tree of life” and “flowerpot” plant motifs to the naturalistic 29 images of rose flowers. Until the mid-20th century this motif was firmly established as the basis of the composition.

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