TARAS SHEVCHENKO IN THE WORLD PHILATELY: EXPERIENCE OF NORTH AMERICA

  • Taisa Litvynchuk Київський національний університет імені Тараса Шевченка
Keywords: philately, Canadian and USA-post, envelope, stamp, T. Shevchenko's self-portrait

Abstract

The article examines the peculiar reception and interpretation of Taras Shevchenko in the postal production of the American continent. The dominant features of the visualization of the master's image are traced using the example of the Taras Shevchenko Museum fund in Toronto (Canada), the Ukrainian Museum-Archive in Cleveland (USA) and separate postal documentation made to order or with the support of the postal operators of the countries indicated above. It was established that the postal product, which became the subject of the study, testifies to the awareness of the society of the USA and Canada about the personality of the master, primarily thanks to the activity of the Ukrainian diaspora, its desire to preserve and spread its own values of Ukrainian history and literature, the outstanding representative of which is T. Shevchenko. It was found that the majority of postal documentation (regardless of the place of origin) saw the world on the
occasion of the master's memory or was devoted to the celebration of the corresponding anniversary of his birth or celebrations associated with his name. Conceptual differences in the formation and interpretation of the overall image of the master on the American continent and in the Ukrainian SSR are determined. Philatelic production, which saw the light outside the Ukrainian SSR, is distinguished by the desire to preserve state traditions through the use of Ukrainian symbols; logos with the image of the master contain inscriptions emphasizing his significance for Ukrainian history: Ukrainian poet of freedom, Champion of freedom. At the same time, the postal products of the Ukrainian SSR present stereotyped theses for the perception of the time, which correlate with the Soviet ideology of that time. The visual component of postal production is studied as one of those that form the image of the master. On the Northern continent, preference was given to using the image of the master's self-portrait in 1840–1841; In turn, the postal products of the Ukrainian SSR are distinguished by the use, in addition to the self-portrait of 1840–1841, of photographs supported in the minds of postal documentation users by the traditional, "canonical" image of Kobzar. The difference in the language design of postal products reproduced in the USSR and abroad is traced. It was established that the inscriptions on the stamps, envelopes and stamps of the logos of the postal production of the Ukrainian SSR were mainly in Russian, in some cases they were duplicated in Ukrainian. Inscriptions on similar postal units printed in other countries are presented in English or duplicated in Ukrainian.

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Published
2024-01-10