FOCUS ON PHILATELY
by Ingert Kuzych and Volodymyr Bekhtir
A rich heritage of folk art
Folk art on stamps has long been popular in philately. Sometimes collectors lump folk art under the larger field of art, in general; but other specialists focus strictly on the "folk" aspect. Although Ukraine's history as an independent country was interrupted for over 70 years during its forceful incorporation into the Soviet Union, folk motifs played a prominent role in its first period of stamp production (1918-1920) and have enhanced many of its modern releases (since 1992). Ukraine's very first stamp set of five-shah values showed folk ornamentation (Figure 1); its 14-stamp lithographed issue of 1920 used folk designs in the borders of every value (Figure 2).
Newly independent Ukraine's first two stamps, issued in March 1992, show richly embroidered folk dress, various folk crafts, and even a historic stringed folk instrument, the kobza (Figure 3). That same year saw the release of Ukraine's first souvenir sheet, which was dedicated to folk music. Displayed on that sheet are various Ukrainian folk instruments and a folk dance (Figure 4). Late that year, a stamp appeared showing a sample of typical Ukrainian embroidery, including some of the most popular mythological motifs: the tree of life and love birds (Figure 5).
Numerous additional single stamps with folk art elements were issued by Ukraine in the ensuing years.
In late 1997 a stunning folk art miniature sheet was released; it consisted of two sets of four stamps surrounded by a selvage border showing well over a dozen folk design motifs (Figure 6).
The first stamp on this sheet depicts Ukrainian folk painting. The design displays a folk rendering of a rooster done in tempera on paper. The depiction was selected as typical of Ukrainian folk design: colorful, ornamental and with an animal motif.
Ukrainian folk painting may be found on walls, furniture, ceramics, glass, paper and cloth. The elements of these traditional embellishments have survived since ancient times. Particularly famous for its ornamentation is the eastern Ukraine whence this rendering hails.
The type of fauna depicted on a folk painting also is significant. The rooster, for example, who greets each day with his crowing, serves to drive away all kinds of evil spirits with his cry. In the folk imagination, a red rooster is particularly powerful in this respect: he brings happiness, protects the cattle from the enchantments of witches, and little children from being stolen by "unclean forces" who can turn them into changelings.
The red rooster can also find a hidden treasure, thus he is also a symbol of wealth. This belief is the reason a rooster is so often seen as an element of Ukrainian embroidery, and so it was only right that the rooster was chosen to decorate one of the folk art stamps. The face value of the stamp is 20 kopiiky.
The second stamp in the sheet illustrates another type of ancient Ukrainian folk art: ceramics. The depicted figure a ram, is an example of the "animal-art style" introduced into the Mediterranean world by the ancient Scythians (who inhabited Ukraine in the first millennium B.C.). Originally such items were ritual vessels (hollow inside) used for holding and pouring wine and other alcoholic beverages.
The choice of a ram is not accidental. In ancient times a ram was the symbol of masculinity, creative energy and the rebirth of the sun's energy in the spring, as well as happiness, wealth, well-being and dignity. But, at the same time, a ram can also be a symbol of unyielding steadfastness, even stupidity.
Ceramic arts in Ukraine date back to 5000 B.C. The techniques for preparing clay, sculpting vessels and statues out of clay, glazing and firing the finished product were developed over many centuries. Ceramic technology was one of the most important crafts practiced in ancient Ukraine. Over time, distinctive traditions, styles and uses evolved.
In Ukraine, ceramics were divided into four basic types: utilitarian vessels, ornamental vessels, ornamental tiles and building products (roof coverings, bricks, pipes, etc.). Today many ancient ceramic centers continue to thrive in Ukraine. The ram shown on the 40-kopiika stamp is rather typical for central Ukraine, which, since antiquity has been renowned for a number of excellent clay deposits.
The third stamp in the series shows an ornamental plate from western Ukraine. Wood carving is a very elaborate type of folk art, typically practiced in the wooded mountainous areas. The oldest extant examples of woodworking date only from the 17th century because, unfortunately, wood decays fairly rapidly. These examples are called "obrazy" (pictures), because they were really carved icons. Surviving materials from the 18th century are much more elaborate; they include furniture and other utilitarian objects.
All carving elements are geometric in nature and very ancient in origin. They are similar to the ornaments used on Ukrainian Easter eggs (pysanky), and they have the same symbolic meanings. Most of the utilitarian objects were ornamented with flat, dry carving. In some cases, the effects of the flat carving were reinforced by inlays of horn, metal wires, small nails or beads. The main decorative principle in preparing these flat carvings was to divide the surface into smaller and smaller geometric areas: squares, circles, semicircles, rectangles, triangles, etc. The 40-kopiika stamp illustrates just such a technique in a contemporary object.
The final stamp of the sheet is devoted to a particular type of embroidery, "biserom" (an Arabic word, describing embroidery with little beads). This type of embroidery is particularly effective on a type of leather jacket, called a "kyptar." The 20-kopiika stamp illustrates a kyptar from western Ukraine. The sleeveless kyptars are a traditional item of clothing in the Carpathian Mountains and foothills; they are trimmed with fur, ornamented dyed leather strips, embroidery using a floral design, colored wool strings and small beads. The colors of the threads used in the embroidery are mostly green, reddish-blue and yellow.
This folk art overview is by no means intended to be exhaustive. Nevertheless, it should be apparent that Ukraine's folk heritage is well-represented on its philatelic issues.
A different version of this folk art survey first appeared in Linn's Stamp News. The authors wish to recognize the help provided by Lubomyr Onyshkevych and Val Zabijaka in the preparation of this article. Volodymyr Bekhtir is president of the Philatelic Society of Ukraine and is on the editorial board of Poshta i Filateliia Ukrainy.
Dr. Ingert Kuzych may be contacted at P.O. Box 3, Springfield, VA 22150; [email protected]
Copyright © The Ukrainian Weekly, June 6, 1999, No. 23, Vol. LXVII
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