Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)

, the beaded decoration emerged in the structure of several old and new components of clothes and accessories. By virtue of the implementation of the techniques of weaving and embroidery, artistic stylistics developed further. In the compositions of beaded components of the costume, apart from the motifs of geometric shapes, the motifs of geometrised shapes appeared, as well as the national symbols. The colouring of beaded artworks was significantly enriched. Successful development of all-ukrainian and local features of folk art continued. The knowledge, accumulated by the authors, will be of a great interest to ethnologists, art historians as well as modern folk craftsmen of beaded artworks.


Formulation of the problem
The proposed scientific research is a continuation of a reconstruction of ethnic artistic tradition of beaded decoration in the ukrainian folk costume, partially published in Revista ARTA [11].In particular, in the article "Ethnic artistic tradition of ukrainian folk costume bead decor: reconstruction of the first stage", it was provided that the researched tradition of beaded decoration emerged in the end of the 18 th century, went through two stages of its development and currently is at the third one.It was indicated that a certain historical background corresponded to each of the stages.It was also stated that technological, typological, as well as, artistic and stylistic peculiarities of beaded decoration in the ukrainian folk costume are the visible markers of artistic paradigms of various stages of the tradition.The characteristics of the historical background and comparative analysis of defining markers suggested the following dates for the stages of the tradition: the first stage -the end of the 18 th -the end of the 19 th centuries; the second stage -the end of the 19 th -the middle of the 20 th centuries; the beginning of the third stage was marked to be in the 1960s [11, p. 49].
In the publication "Ethnic artistic tradition of ukrainian folk costume bead decor: reconstruction of the first stage" it was indicated that the initial area of the tradition covered Northern Bukovyna (a significant part of the Chernivtsi region), Western podillia (a significant part of the Ternopil region), pokuttia (Eastern part of the Ivano-Frankivsk region) and Hutsulshchyna (mountainous zones of the Ivano-Frankivsk, Transcarpathian and Chernivtsi regions of ukraine).It was there where the first and the most persistent centres of beaded folk art were formed [11, p. 149].
In the proposed article, the peculiarities of folk artworks of the second stage of the tradition are characterised.The research was conducted on the basis of the materials from all the Western regions of ukraine (Northern Bukovyna, Western podillia, pokuttia, Hutsulshchyna, Boikivshchyna, Lemkivshchyna, opillia), where from the end of the 19 th century until the middle of the 20 th century the tradition of beaded decoration in the ukrainian folk costume was successfully developing.
Data, tested in the works of researchers of the ukrainian folk costume -Liudmyla Bulhakova-Sytnyk, Hanna Vrochynska, Mirra Kostyshyna, olena Fedorchuk [1; 2; 3; 4; 8; 9; 10; 11; 12], were used in the article.The scientific base also con-tained written, pictorial, material and oral (narratives) sources, personally collected and analysed by the authors of the article.The article was written with the application of the following methods: historiographical analysis, analytical interpretation of the sources, comparative analysis of artefacts, historical reconstruction.
The aim of the article is a lapidary (focused on the key aspects) reconstruction of the second stage of the tradition of beaded decoration in the ukrainian folk costume.The results of the work are addressed to art historians, ethnologists, culturologists as well as modern folk craftsmen of beaded artworks.

Presentation of the main results
Ethnic artistic tradition of beaded decoration in the ukrainian folk costume during the second stage of its development was in the phase of creative uplift.The multiplicity and activity of the centres and craftsmen of folk art was a characteristic feature of this phase.
And this is not by accident.The first half of the 20 th century was the time of the World Wars and liberation struggle of the ukrainians for the state independence, i.e. the time of high passionarity of the ethnos, which manifested itself in its multi-vector activity.As Anthony D. Smith emphasised, "the war mobilises ethnic feelings and national consciousness, it becomes the unifying force in the life of the society and provides future generations with myths and memories" [7, p. 36].The researcher of ukrainian folklore of the period of the First and Second World Wars, oksana Kuzmenko, as well indicated that this period of art of the ukrainians was the time of acquiring tragic experience of crushing World Wars and suffering a crisis state of being [5, p. 13].
Strong emotional experience became an important factor that led to intensive verbal and visual reflexions, their results performed important functions for the society: ethnic consolidation, patriotic maturation, spiritual self-realisation, emotional arousal, etc. [12, p. 88].Due to the mentioned above, the first half of the 20 th century became the time when the majority of ukrainian ethnic artistic traditions had a high level of passionary and creative potential [10, p. 12].
The creation and usage of traditional and newfangled components of folk costume (including beaded artworks) was an act of self-expression, in which the folk costume was a marker of ethnicity.Despite the rapid urbanisation and penetration

ISSN 2345-1181
Istoria ştiinţei.studii interdisciplinare of urban costume into the rural environment, folk clothes actively functioned in rituals and the social life of the ukrainians.This is pointed out by numerous respondents and confirmed by historic photographs of the first half of the 20 th century (Fig. 1).
With the suppression of struggle of national liberation and imposition of an ideology, hostile to the patriotic consciousness of the ukrainians, the decline of active practices began, which marked the end of the second stage of ethnic artistic tradition of beaded decoration in the ukrainian folk costume.
The phase of creative uplift, in which the tradition had been during the first half of the 20 th century, was characterised by the emergence of successful (prospective) technical, typological as well as artistic and stylistic innovations of the folk art.The innovations became an important part of the ethnic artistic paradigm of the second stage of the researched tradition.
In particular, ukrainian folk craftsmen of the end of the 19 th -the first half of the 20 th centuries (due to optimisation of production, expansion of assortment and development of the market of beaded artworks) started using new forms (cut beads "sićhka" and bugle beads "skliаŕus"), sorts (mirrored, metallised) and colour tones of beaded materials.The techniques of typesetting, sewing "v prykriṕ"and stringing were still used in practices.Due to the availability of high-quality (strong and at the same time thin) factory threads and special (with the thinnest eye) needles the method of stringing on one thread became widespread.Also, the techniques of weaving (Fig. 5, 10-12) and embroidery (Fig. 6, 7-9) with beaded materials started to be widely used.
Therefore, the bib "yazyḱ" ("pivsioŕok", "visioŕok", "tsаṕka") appeared -a female chest jewel-ryin the shape of a square or a rectangle.Such decoration was often stringed from bugle beads.Bugle beads gave a very open-work structure (with big clearances) to the decoration (Fig. 2).Field research shows that in the first half of the 20 th century "yazyḱ" was worn in the villages of Eastern Boikivshchyna and pokuttia [12, p. 140-141].
Stringing on one thread became a significant technological innovation.Among the jewelry, for example, sawtooth"syĺianka" ("zubata", "pyĺka") appeared (a collar, the lower edge of which has a notched contour).It was stringed on one thread using the "mosaic" method.
At the second stage of the tradition of beaded decoration in the ukrainian folk costume, the weaving technique began to be widely used.In particular, some already known types of overhead jewelry (band gerdаń, band gerdаń with pendants, medallion gerdаń, crossed-over gerdаń, corner "V"gerdаń, sash) were produced by weaving.The same technique became the basis of producing a modern beaded jewelryin the form of a pentagonal pendant -"cotillioń".In 1910s-1920s a beaded cotillion was made by a girl for a boy that she liked.She gave it to a boy as a gift when she was inviting him to dance the girlish waltz, so called "cotillioń waltz" (this is where the decoration's name comes from).Soon cotillion became a jewelryof not only male, but as well female rural and urban costumes (Fig. 1,10,11).
A tie "kravаtka" became a new component of a male festive costume.It could be made with the techniques of stringing, weaving or embroidering of beaded materials.Such adornment was most commonly used in urban clothes (Fig. 4).
ukrainian folk craftsmen started using the technique of weaving of beaded materials, apart from overhead jewelry, also for producing decor for traditional girlish headband ("chil'tse") and wedding wreaths (Fig. 5).
However, it is worth mentioning that the increase in the typological diversity of beaded components in ukrainian folk clothes mainly happened due to the interest in technique of em-
The technique of embroidery with beaded materials received the widest usage in the decoration of components of clothes and accessories.
"Soroćhka", embroidered with beaded materials of traditional cut, as well emerged in the ensemble of folk clothes of Hutsuls from Zakarpattia (nowadays Rakhiv district of the Transcarpathian region) [12, il. 109].In villages of Northern Bukovyna and Western podillia, located near the banks of the Dniester, festive shirts were often embroidered by using the combination of woollen threads and beads [3, il. 33, 35, 43, 51].
Decorated with beaded embroidery linen trousers ("portiаńytsi") became a zonal peculiarity of non-mountainous villages of Northern Bukovyna.Men were wearing them in complex with analogically decorated shirts [4, p. 82].
The components of chest clothes, embroidered with beaded materials, became fashionable in practically all ethnographic zones of Western ukraine.Starting from the 1920s beaded decoration became a part of the sheepskin sleeveless jacket (with fur inside) "keptаŕ" ("kintаŕ", "kozhuḱh", "kozhuśhok", "kozhushyńa").Keptar, decorated with beads, initially appeared in male and female clothing of Bukovyna, and since the 1940s -sporadically in pokuttia [12, p. 155].
At the same time "goŕset" and "kamizél'ka", sewn from velvet and decorated with embroidery of beaded materials or threads, became widely worn in the majority of ethnographic zones of Halychyna (Lemkivshchyna, Boikivshchyna, opillia, Western podillia) (Fig. 8).A short sleeveless jacket "goŕset" (down until the waist or a little bit lower) appeared first, and since the 1930s -a longer sleeveless jacket "kamizél'ka" (down to the middle of a thigh).
In some villages of Transcarpathian Hutsulshchyna festive cloth cloak, so called "petek", worn by men and women, was sometimes decorated with beaded embroidery.In general, such clothes were very rare and were considered to be a sign of prosperity [12, p. 156-157].
Folk craftsmen of pokuttia sometimes used embroidery with beads for decorating accessories.In particular, during the field research on the territory of pokuttia, the undescribed earlier embroidered with beads velvet bags and linen handkerchiefs ("shyrińka") were discovered [12, il. 136-137].
It is worth noting that until the end of the 19 th century ukrainian folk ornamentics had been persistently preserving old geometric patterns [6, p. 210].In particular, geometric motifs had been prevailing on beaded overhead jewelry and headdresses (Fig. 2, 3).The implementation of weaving and embroidery techniques contributed to the further development of the stylistics of compositions, made of beads.Through embroidery seams ("needle ahead", "stebélchatyi", "satin stitch", "half-cross"), geomertised shapes of phytomorphic and ornitomorphic motifs started appearing (Fig. 6-9).
The motifs, connected to the symbols of ukrainian statehood (the trident, a golden lion, a golden lion in a crown, the blue and yellow flag), became the peculiarity of stylistic innovations of the second stage of the tradition of beaded decoration of the ukrainian folk costume (Fig. 1, 11).The spread of the national symbols in the artistic language of folk artworks of the first half of the 20 th century confirms our thesis about the need of the ukrainians for national self-identification.
The trident, as a historical symbol of statehood, known since the times of Volodymyr the Great, was declared to be the state coat of arms of the ukrainian people's Republic (February 1918).A golden lion and the blue and yellow flag became respectively the coat of arms and the flag of the West ukrainian people's Republic (November 1918).The same flag became official in the Carpathian Ruthenia (March 1920).A golden lion in a crown was the symbol of the volunteer legion of the ukrainian Sich Riflemen (1914) [12, p. 89].
It should be noted that the first half of the 20 th century became the time of development of not only general, but as well of local artistic and ISSN 2345-1181 Istoria ştiinţei.studii interdisciplinare stylistic peculiarities of ukrainian folk beaded artworks.The features of authentic artistic language were mainly displayed in graphemes of motifs and colouring of beaded compositions.
The so called "lаṕka z zozuĺkamy" may serve as an example.It is a band gerdan with the motif of a side-faced bird, sitting on a branch between flowers."Lаṕka z zozuĺkamy" still occurs in the village of VelykyiKliuchiv of Kolomyia district of the Ivano-Frankivsk region.The composition of such a decoration is traditionally made of the beads of white (background), dark cherry, dark green, dark purple, black and yellow colours (Fig. 12)."Lаṕka z zozuĺkamy" is attached to the headdress of a groom, whilst the headdress of a best man is decorated with a band gerdan with a flower motif -the so called "lаṕka z kvitamy" [9, p. 197].The band gerdan "z zozuĺkamy" as a distinctive feature of a groom's headdress is met exclusively in the village of VelykyiKliuchiv of Kolomyia district of the Ivano-Frankivsk region.

Conclusions
Thus, the paradigm of the second stage of the tradition of beaded decoration of the ukrainian folk costume has sufficiently expressive technological, typological, as well as, artistic and stylistic characteristics.
In particular, at the second stage, ukrainian folk craftsmen started working with a larger (comparing to the previous stage) range of sorts and colours of beaded materials.Bugle beads and cut beads of glossy, transparent as well as mirrored and metallised sorts began to be used alongside of simple beads.
Due to the technological innovations, the number of beaded components of the folk costume expanded.Namely, the number of overhead jewelry increased from 15 to 20.The plateau-like female headdress was added to the two already existing girlish ones.Eight components of clothes, decorated with beads, appeared, as well as, two accessories.
Along with the motifs of geometric shapes, the craftsmen started making phytomorphic and ornitomorphic motifs, as well as depicting the state symbols of ukraine.The unique features of authentic folk art continued developing.