Ukraina, national poet, Taras Shevchenko, Kobzar, Ouline

Description: This medal is a part of my French medals offer Visit my page with the offers, please. You will find many interesting items relates to this subject. If you are interested in other medals, related to this subject, click here, please. Literature Press, publishing, archives Ukraine; related to Russia; related to Poland; Rulers Poland; History This medal has been minted in 1964 to commemorate the 150th anniversary of the birth of the Ukrainian national poet, Taras Shevchenko, 1814 - 1861. This medal has been designed by the French medalist, A. OULINE. Taras Hryhorovych Shevchenko (Ukrainian: Тарáс Григóрович Шевчéнко) (March 9 [O.S. February 25] 1814 – March 10 [O.S. February 26] 1861) was a Ukrainian poet, also an artist and a humanist. His literary heritage is regarded to be the foundation of modern Ukrainian literature and, to a large extent, of modern Ukrainian language. Shevchenko also wrote in Russian and left many masterpieces of his works. A Kobzar (Ukrainian: кобзар, pl. kobzari Ukrainian: кобзарі) was an itinerant Ukrainian bard who sang to his own accompaniment. av. Taras Shevchenko rv. The Kobzar and other titles of his books diameter - 70 mm (2¾”) weight – 199.50 gr (7.04 oz) metal – bronze, authentic patina Taras Hryhorovych Shevchenko Heritage and legacy Impact A monument to Taras Shevchenko in Kiev, Ukraine, is located across the Kiev University that bears the poet's name. Taras Shevchenko has a unique place in Ukrainian cultural history and in world literature. His writings formed the foundation for the modern Ukrainian literature to a degree that he is also considered the founder of the modern written Ukrainian language (although Ivan Kotlyarevsky pioneered the literary work in what was close to the modern Ukrainian in the end of the eighteenth century). Shevchenko's poetry contributed greatly to the growth of Ukrainian national consciousness, and his influence on various facets of Ukrainian intellectual, literary, and national life is still felt to this day. Influenced by Romanticism, Shevchenko managed to find his own manner of poetic expression that encompassed themes and ideas germane to Ukraine and his personal vision of its past and future. In view of his literary importance, the impact of his artistic work is often missed although his contemporaries valued his artistic work no less, or perhaps even more, than the literary one. A great number of his pictures, drawings and etchings preserved to this day testify for his unique artistic talent. He also experimented with the photography and it is little known that Shevchenko may be considered to have pioneered the art of etching in the Russian Empire (in 1860 he was awarded the title of the Academician in the Imperial Academy of Arts specifically for his achievements in etching.) His influence on the Ukrainian culture has been so immense, that even at Soviet times, the official position was to downplay strong Ukrainian nationalism expressed in his poetry, suppressing any mention of it, and to put an emphasis on the social and anti-Tsarist aspects of his legacy, the Class struggle within the Russian Empire. Shevchenko, who himself was born a serf and suffered tremendously for his political views in opposition to the established order of the Empire, was presented in the Soviet times as an internationalist who stood up in general for the plight of the poor classes exploited by the reactionary political regime rather than the vocal proponent of the Ukrainian national idea. This view is significantly revised in modern independent Ukraine where he is now viewed as almost an iconic figure with the unmatched significance for the Ukrainian nation, the view that has been mostly shared all along by the Ukrainian diaspora that has always revered Shevchenko. The kobza The kobza (Ukrainian: кобза) is a Ukrainian folk music instrument of the lute family (Hornbostel-Sachs classification number 321.321-5+6), a relative of the Central European mandora. The term kobza however, has also been applied to a number of other Eastern European instruments distinct from the Ukrainian kobza. 1) The term kobza was also used in historical sources and folk song as a synonym of bandura in the 19th and early 20th century in Ukraine. 2) The term was occasionally used for the bagpipes and occasionally for the hurdy-gurdy in Eastern Poland, Belarus and the Volyn region in Ukraine. 3) The unfretted "starosvitska" bandura (a variant of gusli, developed ca. 1700) appropriated the bandura name, but was commonly referred to as a kobza, because of the name's historical cachet. 4)The Romanian kobza or cobza is a different type of plucked lute. The Kobzar Tradition Kobzars were often blind, and became predominantly so by the 1800s. Kobzar literally means ‘kobza player’, a Ukrainian stringed instrument of the lute family, and more broadly — a performer of the musical material associated with the kobzar tradition[1]. The kobzar tradition was established during the Hetmanate Era around the sixteenth century in Ukraine. Kobzars accompanied their singing with a musical instrument known as the kobza, bandura or lira. Their repertoire primarily consisted of para-liturgical psalms and "kanty", and also included a unique epic form known as dumas. At the turn of the nineteenth century there were three regional kobzar schools: Chernihiv, Poltava, and Slobozhan, which were differentiated by repertoire and playing style. Guilds In Ukraine, kobzars organized themselves into regional guilds or brotherhoods, known as tsekhs. They developed a system of rigorous apprenticeships (usually three years in length) before undergoing the first set of open examinations in order to become a kobzar. These guilds were thought to have been modelled on the Orthodox Church brotherhoods as each guild was associated with a specific church. These guilds then would take care of one church icon or purchase new religious ornaments for their affiliated church (Kononenko, p. 568–9). The Orthodox Church however was often suspicious of and occasionally even hostile to kobzars. End of kobzardom The institution of the kobzardom essentially ended in the Ukrainian SSR in the mid 1930s during Stalin's radical transformation of rural society which included the liquidation of the kobzars of Ukraine. Kobzar performance was replaced with stylized performances of folk and classical music utilising the bandura. Re-establishment of the tradition In recent times there has been an interest in reviving of authentic kobzar traditions which is marked by the re-establishing the Kobzar Guild as a centre for the dissemination of historical authentic performance practice. Other use of the term Kobzar is also a seminal book of poetry by Taras Shevchenko, the great national poet of Ukraine. The term "kobzar" has on occasion been used for hurdy-gurdy players in Belarus (where the hurdy-gurdy is often referred to as a "kobza", and bagpipe players in Poland where the bagpipe is referred to as a "kobza" or "koza".

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End Time: 2024-09-19T07:57:00.000Z

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