"…Then, From the Green Grove, a Young Cossack Came Out to Her …": How Halia and Ivanko Have Coupled, Or the Intertwinning Works of T. Shevchenko and L. Panchenko in Modern Embroidered Dedications to Taras

Abstract

The first half of the article title "«…Then, from the Green Grove, a Young Cossack Came Out to Her…»: How Halia and Ivanko Have Coupled…" quite succinctly and symbolically reflects its essence. On the one hand, it is about a specific case of folklore reinterpretation (embodied in the rushnyk created by teachers and students of the Myshuryn Rih school for the bicentennial of Kobzar) of the embroidery cross-stitch paper "Halia Is Carrying Water" (authored by Ukrainian woman of the 60s Liubov Panchenko, 1980s) and the poem "A Red Cranberry Bloomed in the Valley" (authored by father of Ukrainian nation Taras Shevchenko, 1849). Having reproduced on canvas a reduced version of this Shevchenko's work (which describes a love date between a young cossack and a girl), the residents of Myshuryn Rih village (Dnipropetrovsk region, 2014) illustrated this plot with characters from the images by L. Panchenko (the original by this Bucha artist is depicting a girl Halia who is running away from a boy Ivanko). At the same time, the so-called method of horizontal flipping characters in epigraphic embroidery had been applied, which became the main plot-forming element: the girl character in the embroidered version, unlike the original, is turned to face the boy. On the other hand, the "coupling of Halia and Ivanko" also acquires a somewhat metaphorical sound in the context of this article's headline, which is devoted to the issue of contaminations (in other words, mixing two (or more) parts of different works when creating a new one) of the author's work (here: poems by Taras Shevchenko and drawings by Liubov Panchenko) in the samples of epigraphic embroidery. The second half of the article title "…Intertwining Works of T. Shevchenko and L. Panchenko in Modern Embroidered Dedications to Taras" (after the explanatory conjunction "or") actually deciphers the first part. Considerable attention in this research is paid to the peculiarities of the interweaving poems of T. Shevchenko, drawings of L. Panchenko, and folklore not only in the previously mentioned case, but also in the works by the famous Irpin embroiderer of Kobzar's works Ivan Riabchuk (2010s), who, as it turned out during our scientific research, repeatedly resorted to similar combined creative reinterpretations.