Female mascarons in the architecture of the Lviv secession

Lidiya Kukil

doi:10.21744/lingcure.v5nS4.1744

Authors

Lidiya Kukil
kukil7751@singapore-uni.com
Lviv National Academy of Arts, Lviv, Ukraine

Keywords:

architectural detail, artistic image, mascaron, plastic solution, secession, style solution, symbol

Abstract

An important role in the formation of the architectural style of Lviv was played by the beginning of the twentieth century. As the capital of Galicia, which at that time belonged politically to the Austrian Empire, Lviv was strongly influenced by the Austrian Secession and the head of the Vienna School of Architecture O. Wagner. Nevertheless, Lviv architecture, to a certain extent, has preserved its originality and uniqueness. Secession is a phenomenon of the Lviv architecture of the early twentieth century. It determines the definition of sculptural decor as one of the main components of the “newest” artistic image of a building. Among the various types of plastic decoration, an important place is occupied by relief masks – mascarons, which are the most mysterious, attractive, and bizarre elements of the architecture of the Lviv Secession. The article notes the influence of various factors on the formation of new typological groups of mascarons not found in the architecture of previous eras. The artistic images of secession arise at the intersection of two key symbols and constant themes of art nouveau – eternal femininity and fabulous nature. In almost all cases, female mascarons are accompanied by plant motifs of the local flora.

Downloads

Download data is not yet available.

References

Abbasov, I. B., & Sanchez, C. L. (2020). Design features of the Inca museum of culture. International Research Journal of Engineering, IT & Scientific Research, 6(5), 1-12. https://doi.org/10.21744/irjeis.v6n5.970

Almazov, B. (2012). Tale of the stone townspeople. Essays on decorative sculpture in St. Petersburg. Moscow: Tsentrpoligraf.

Biriulow, J. (2007). Rze?ba lwowska od po?owy XVIII wieku do 1939 term: Od zapowiedzi klasycyzmu do awangardy [Lviv sculpture from early classicism to avant-gardism, mid-18th century–1939]. Warszawa: Neriton.

Biryulov, Yu. (2005). The art of Lviv secession. Lviv: Tsentr Yevropy.

Biryulov, Yu. (2008). Architecture of Lviv: Time and styles. XIII-XXI centuries. Lviv: Tsentr Yevropy.

Biryulyov, Y. (2015). Stylistic evolution of the Lviv sculptural, and architectural ensembles in the 19th and early 20th centuries.

Bohdanova, Yu., & Kopyliak, I. (2013). Origin and development of regional traditions and the search for national styles in the architecture of Lviv in the late nineteenth ? early twentieth century. Visnyk Natsionalnoho Universytetu „Lvivska Politekhnika”. Seriya: Arkhitektura, 757, 175-183.

Cheban, VO (2019). Symbolism of the female image in the decor of Art Nouveau architectural structures. Culture and Modernity , (1), 303-308.

Gede Budasi, I. & Wayan Suryasa, I. (2021). The cultural view of North Bali community towards Ngidih marriage reflected from its lexicons. Journal of Language and Linguistic Studies, 17(3), 1484–1497

Goldschmidt, G. (1994). On visual design thinking: the vis kids of architecture. Design studies, 15(2), 158-174. https://doi.org/10.1016/0142-694X(94)90022-1

Ivashko, Yu. (2009). Features of the use of natural motifs in modern architecture. Visnyk Natsionalnoho Universytetu „Lvivska Politekhnika”, 656, 38-43.

Jung, C. (1981). G.'The Archetypes and the Collective Unconscious. Collected Works of CG Jung, vol. 9, pt. 1.

Kadurina, A. (2013). Informatsyonnyj kod arkhitektury Odessy v simvolakh [Odessa architecture information code in symbols]. Odessa: FLP «Fridman AS, 244.

Kadurina, A. (2015). Symbols in architectural decor (on the example of Odessa). Odesa: Astroprint.

Kambarova, M. M. (2021). Semantic and functional features of lexical units in the field of architecture and construction in English and Uzbek. Linguistics and Culture Review, 5(1), 64-74. https://doi.org/10.21744/lingcure.v5n1.503

Kashef, M. (2008). Architects and planners approaches to urban form and design in the Toronto region: A comparative analysis. Geoforum, 39(1), 414-437. https://doi.org/10.1016/j.geoforum.2007.09.002

Korovkina, H. (2016). Floral motifs in the art nouveau architecture of Kharkiv. Visnyk Natsionalnoho Universytetu „Lvivska Politekhnika”. Seriya: Arkhitektura, 856, 215-222.

Kramarchuk, K. (2015). Transformation archetype of Madonna in architectural subject environment.

Kravchenko, Ya., & Fetsych, O. (2008). Fatal woman of Lviv secession. In: O. Malanchuk-Rybak (Ed.), Zhinka v Mystetstvi: zb. nauk. statey, (pp. 153-158). Lviv: Nauk. tovarystvo im. Shevchenka.

Kshitsova, D. (2003). Modern style ? the phenomenon of integration and disintegration of symbolism and avant-garde. In: Collected Scientific Works “Simbolism in Avant-Guard”, (pp. 51-68). Moscow: Nauka.

Len, W., & Hoang, R. (2019

Len, W., & Hoang, R. (2019). Problem towards local language translation in artificial neural networks. Applied Translation, 13(2), 8–15. Retrieved from https://appliedtranslation.nyc/index.php/journal/article/view/522

Linda, S. (2001). The search for national identity in the architecture of Lviv at the turn of the XIX-XX centuries. Visnyk Natsionalnoho Universytetu „Lvivska Politekhnika”, 429, 87-98.

Linda, S., & Pekarchuk, O. (2015). Problems of preserving and changing the appearance of apartment buildings at the turn of the XIX - XX centuries of Lviv. Visnyk Natsionalnoho Universytetu „Lvivska Politekhnika”. Seriya: Arkhitektura, 816, 196-203.

Malanchuk-Rybak, O. (2008). “Woman in Art”: methodological aspects of interpretation. In: O. Malanchuk-Rybak (Ed.), Zhinka v Mystetstvi: zb. nauk. statey, (pp. 7-18). Lviv: Nauk. tovarystvo im. Shevchenka.

Malanchuk-Rybak, O. (2008). Ideas of emancipation of women in the artistic culture of Galicia: from Romanticism to Modernism. In: O. Malanchuk-Rybak (Ed.), Zhinka v Mystetstvi: zb. nauk. statey, (pp. 123-134). Lviv: Nauk. tovarystvo im. Shevchenka.

Menzel, C., Kovács, G., Amado, C., Hayn-Leichsenring, G. U., & Redies, C. (2018). Visual mismatch negativity indicates automatic, task-independent detection of artistic image composition in abstract artworks. Biological psychology, 136, 76-86. https://doi.org/10.1016/j.biopsycho.2018.05.005

Miliani, C., Romani, A., & Favaro, G. (1998). A spectrophotometric and fluorimetric study of some anthraquinoid and indigoid colorants used in artistic paintings. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 54(4), 581-588. https://doi.org/10.1016/S1386-1425(97)00240-0

Mudra, I. W. (2016). The design diversity of ornamental earthenware towards the craft product marketing in bali on global era. International Research Journal of Management, IT and Social Sciences, 3(9), 80-87. Retrieved from https://sloap.org/journals/index.php/irjmis/article/view/416

Noardo, F. (2018). Architectural heritage semantic 3D documentation in multi-scale standard maps. Journal of Cultural heritage, 32, 156-165. https://doi.org/10.1016/j.culher.2018.02.009

Obertas, O., & Khisamutdinov, A. (2015). Stone faces: Mascarons of Vladivostok. Vladivostok: Izd-vo VGUES.

Oborska, S. (2009). Synthesis of arts in the subject environment of the modern style: thesis of the ?andidate of Art History. Kyiv.

Okunieva, T. (2008). Semantics of the female mask: architectural decor of Russian Art Nouveau. Vestnik RGGU. Seriya “Kulturologiya. Iskusstvovedenie. Muzeologiya”, 10, 206-212.

Petrovic, A. (2020). Spatial heterogeneities in a bioclastic shoal outcrop reservoir analogue: Architectural, cyclical and diagenetic controls on lateral pore distribution. Marine and Petroleum Geology, 113, 104098. https://doi.org/10.1016/j.marpetgeo.2019.104098

Protas, M. (2006). Ukrainian sculpture of the XX century. Kyiv: Intertekhnolohiya.

Rounce, G. (1998). Quality, waste and cost considerations in architectural building design management. International Journal of Project Management, 16(2), 123-127. https://doi.org/10.1016/S0263-7863(97)00042-2

Skibitska, T. (2011). Kyiv Architectural Art Nouveau (1900–1910). Lviv: Tsentr Yevropy.

Skochilov, B. (2000). Mascarons of St. Petersburg. St. Petersburg: Sudarynya.

Stamps III, A. E. (1999). Architectural detail, Van der Laan septaves and pixel counts. Design Studies, 20(1), 83-97. https://doi.org/10.1016/S0142-694X(98)00025-8

Stoilova, L., & Iokimov, P. (2014). The symbolism of decorations in Art Nouveau style. Architektura, 4, 49-55.

Studnytska, M. (2014). Synthesis of arts in public and residential architecture of Galicia in the first third of the twentieth century. In: Collected Scientific Works “Ukrainian Art Studies: Materials, Investigations, Reviews”, 14, 158-177.

Sugár, V., Talamon, A., Horkai, A., & Kita, M. (2018). Architectural style in line with energy demand: Typology-based energy estimation of a downtown district. Energy and Buildings, 180, 1-15. https://doi.org/10.1016/j.enbuild.2018.09.031

Wirakusumah, I. A., Antariksa, A., & Salura, P. (2021). Needs and wants in mosque architecture: a study of traditional and modern mosques in West Java-Indonesia. Linguistics and Culture Review, 5(S3), 381-395. https://doi.org/10.21744/lingcure.v5nS3.1535

Yang, C., Liang, P., Avgeriou, P., Eliasson, U., Heldal, R., Pelliccione, P., & Bi, T. (2017). An industrial case study on an architectural assumption documentation framework. Journal of Systems and Software, 134, 190-210. https://doi.org/10.1016/j.jss.2017.09.007

Zhuk, I. (1989). Decorative detail in the architecture of Lviv Art Nouveau: principles of shaping and systematization: thesis of the Candidate of Art History. Lviv.

Zhuk, I. (1993). Architectural decor of Lviv secession. Mystetski Studiyi, 2-3, 104-111.