THE ROLE OF THE SYNTHESIS OF ART IN THE FORMATION OF THE INTERIOR OF THE CLUB BUILDINGS OF THE SOVIET PERIOD
The article presents a stepwise analysis of the use of different types of works of monumental and decorative art in the formation of the interior. During the Soviet period there was a tendency of the development and complexity of planar works of monumental-decorative art and application of relief and three-dimensional composition as a means of forming the interior space of the club buildings. Also here the palette of planar, textured and three-dimensional pieces of art was considerably enriched.
There were identified forms of communication of works of monumental-decorative art with architecture. The nature of these communications changed at each stage. At the first stage (1920s – the 1-st half of 1930s) for the interior in the style of constructivism the use of synthesis of arts was limited to the ideological function of enrichment. During the next stage (the 2-nd half of 1930s up to the 1-st half of 1950s) in the period of Soviet classicism in the interior the synthesis of art was based on subordination to architecture.
In the interiors of the period of technologism (from the 2-nd half of 1950s till 1980s) forms of synthesis of arts were complemented by enrichment, determination, distinction and subordination of pieces of art in relation to architecture.
In themes of works about monumental-decorative art there is a strong tendency of lighting the ideology historical stages of the development of the country, national ideas.
Synthetic morphogenesis should be considered with fundamental national concepts of the
world, people, nature, state, beauty.
Keywords: constructivism, monumental-decorative art, Soviet classicism, Soviet period, synthesis of arts, technologism, конструктивизм, монументально-декоративное искусство, синтез искусств, советский классицизм, советский период, технологизм