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Enthusiasts and historians of embroidery


Yevheniya Shudra has devoted many years of her life to the collection of materials about embroiderers and other masters of the Ukrainian applied and decorative folk arts, and about those who have done research in the sphere of the Ukrainian applied and decorative folk arts. In previous WU issues, our magazine published excerpts from her research. All of the people mentioned there were women. The excerpts published in this issue concern men: Serhiy Nechyporenko, an artist and teacher; Erast Binyashevsky, Ph.D in medical science, Mykhailo Selivachov, Ph.D in art history, and Mamut Churlu, an artist and art historian.




Serhiy Hr. Nechyporenko was born into a Cossack family in the village of Ksenivka, Chernihiv Oblast, on September 19 1922. In the late 1930s he studied at the Krolevets Art and Technical School majoring in technologies of decorative fabrics. Shortly before Nazi Germany invaded the Soviet Union, he graduated and joined the ranks of the Soviet Army in the struggle against the invaders.

After the war he moved to Kyiv where he taught (19471967) at the Kyiv Art and Technology School. At the same time he continued his art studies at the decorative fabrics studio of Serhiy Kolos at the Academy of Architecture.

In 19471950 he studied by correspondence at the All-Union Institute of Textile and Light Industries, Moscow. From 1950 to 1963 he worked at the Central Art Experimental and Scientific Laboratory of the Ukrainian Art and Handicraft Industries in the capacity of an artist, and later as head of a department.

Serhiy Nechyporenko made a considerable contribution to the development of decorative weaving in Ukraine. He combined achievements of the past, traditions of making decorative fabrics in many parts of Ukraine with the new progressive ideas and created new decorative fabrics, introduced new technologies and new decorative patterns.

Serhiy Nechyporenko devoted many years of his life to collecting patterns of decorative fabrics in 18 Oblasts of Ukraine. His own art was shown at many exhibitions since 1947. His thematic works such as Dumy moyi, dumy (My thoughts, 1961); Kalyna (Guilder Rose, 1972); Shevchenkiv chas (Time of Shevchenko, 1985); Kyiv 1500 (Kyivs 1500th Anniversary, 1988); Zhuravlykha (She Crane, 1989), and Zemlya moya, Chornobyl (Chornobyl, Land of Mine, 1990) were highly appreciated and widely used. Altogether, he created over 2,000 works, 700 of which are kept in museums of Ukraine and private collections abroad in Russia and Canada. The years 19972002 were particularly fruitful when the artist created 150 works united in two thematic collections  Vinok Kobzarevi (Wreath for the Bard) and Moya berehynya (My Protectress).

Serhiy Nechyporenko made designs for dresses in the Ukrainian traditional national style for the Virsky Song and Dance Ensemble; he provided interior decoration designs for the Museum of Shevchenko in Kyiv, the Museum of Lesya Ukrayinka, the Museum of Mykola Lysenko, the Museum of the History of Kyiv, the Museum of Shevchenko in Kaniv, and the Museum of Ukrainian Folk Decorative Art.

Serhiy Nechyporenko was one of the founders of the Union of Folk Artists (in 1994) and of the Department of Decorative Art at the Kyiv Art Technologies School, which was later reorganized into the Mykhailo Boychuk State Institute of Decorative and Applied Arts and Design in Kyiv. At present, Prof. Serhiy Nechyporenko, who had been awarded several honorary titles, works at this Institute teaching art and design of decorative fabrics.









Erast V. Binyashevsky was born in Dnipropetrovsk on June 26 1928 (died on March 12 1996 in Kyiv). He studied medicine in Dnipropetrovsk and in Leningrad (now St Petersburg). Upon graduation in 1953, he worked as a doctor at a Soviet army unit in Vienna, Austria, where he learnt German. He traveled widely in Austria.

In the end of the 1950s he moved to Kyiv where he continued his studies of medicine at the post graduate school of the Kyiv Medical Institute. In 1959, he began working at a medical research center and wrote a dissertation. In the mid-nineteen eighties he conducted research in new progressive spheres of medicine; he authored more than a hundred scholarly works.

In the early 1960s, he grew increasingly interested in the history of Ukrainian culture; of a particular interest to him were Ukrainian pysanky  painted Easter eggs. He traveled to many parts of Ukraine, collecting pysanky, and in 1968 he published an album, Ukrayinsky pysanky, the first album of such kind in Soviet Ukraine.

In 1994, he published another book, Ukrayino, nene moya (My Beloved Ukraine) for which he was awarded a prize. Erast Binyashevsky also published two more books devoted to pysanky; one was devoted to pysanky of Hutsulshchyna and the other to pysanky of Podillya. His death prevented him from publishing other books in this pysanky series.

After his death his collection of pysanky, icons, embroidered decorative towels and paintings was presented to the Museum of Ukrainian Decorative Art which exhibits some of the items of this collection and shows the rest at exhibitions. Memorial workshops dedicated to Erast Binyashevsky are held.




Wind Mill. Southern Bukovyna.


Stars. Land of Hutsulshchyna.


Gypsy Roads. Eastern Podillya.


Symbol of Eternity. Land of Poltavshchyna.


Flower. Land of Chernihivshchyna.


Little Spiders. Eastern Podillya.


Berezivnyk. Western Podillya.


Zastuptsi. Land of Khersonshchyna.


Grove of Oaks. Zaporizhzhya.


Krutorohy. Land of Odeshchyna.


Pysanka (Easter egg) that dates from the 10th
or 11th century. Land of Kyivshchyna.




Mykhailo R. Selivachov was born in Kyiv in June 1946; he studied art history in Kyiv and continued his studies at the Illya Repin Institute of Painting, Sculpture and Architecture in Leningrad (now St Petersburg) in the late 1960s. Completing his post-graduate studies at the Rylsky Institute of Art History, Folk and Ethnology Studies in Kyiv, he wrote an MA dissertation. He was awarded the Masters of Arts degree by the Moscow University and in 1996 he earned his Ph. D. in art history.

In 19911992 he worked as a research fellow at the Ukrainian Museum in New York, USA, and later at the Ivan Honchar Museum and the Museum of Ukrainian Folk Decorative Art in Kyiv.

In the late 1990s he taught history of decorative and applied arts and delivered lectures on various aspects of Ukrainian and foreign cultures at the Mykhailo Boychuk State Institute of Decorative and Applied Arts and Design in Kyiv, of which he was vice-president in 20002004.

Mykhailo Selivachov has published over 500 papers and works devoted to various aspects of Ukrainian decorative and applied arts, design and architecture (they were published in Ukraine, in the former Soviet Union, Australia, Germany, the USA, Canada and in other countries).

At present, Mykhailo Selivachov is editor in chief of the ANT Bulletin of Archeology, Art History and Cultural Anthropology; he edits and contributes to other periodicals and books; he sits on various commissions dealing with dissertations on art at the National Art Academy in Lviv and at the National Construction and Architecture University in Kyiv.

Mykhailo Selivachov regularly takes part in and organizes international conferences in Ukraine, Russia, Poland, Germany, Macedonia, Rumania, Slovakia, Croatia, Italy and the USA. He is one of the founders of the Ukrainian Branch of the International Association of Art Critics.

His monumental work, Leksikon Ukrayinskoyi ornamentalistyky (Lexicon of Ukrainian Ornamental Art), which was published in 2005, is of encyclopedic proportions. It is unique in its scope and depth of research.









Mamut Yu. Churlu (nee Dudchak) was born in the village of Dykhtynets in the Land of Bukovyna, Western Ukraine on July 7 1921. His grandfather Ivan Fedosyuk, a Hutsul, was known among the Hutsuls for his mastery in working wood and metal.

Mamut Yu. Churlu was born into a Tartar family, who had been forcibly deported from the Crimea, on March 1 1946 to the city of Fergana, Uzbekistan.

In 1965, he graduated from a music school and later he studied at the M. Glinka Music Conservatory in Novosibirsk, Russia, majoring in music history and theory.

In 1975, he founded an art school for children in Fergana where he taught for several years. He continued his studies at an art school in Fergana; in the 1980s he taught the art of carpet making at the same school.

In the late 1980s, he began to paint and showed his works at various exhibitions. In the 1980s, he also showed his designs for carpets at exhibitions held in Tashkent, Uzbekistan.

In 1989, he moved to the Crimea, the land of his ancestors, becoming one of the first Tartar artists to do so. There he painted a series of canvases which he called Return to the Motherland.

In 1990, Mamut Churlu was elected member of the Managing Board of the Culture Fund of the Crimea; he was instrumental in organizing a number of exhibitions of Crimean Tartar artists.

In 1996, Mamut Churlu began his work in making carpets in the traditional Crimean Tartar way, thus contributing to the revival of traditional Crimean Tartar carpet making in the Crimea. He showed his carpets and designs at a number of exhibitions in Simferopol.

In the late 1990s and early 2000s, Mamut Churlu created decorative works and designs in which he combined the traditions of the Crimean Tartar and Central Asian decorative art with cotemporary design.

In 2004 and in 2005, he organized exhibitions of Crimean Tartar decorative art in Kyiv and showed his own art at the All Ukraine exhibition Ukrayinsky souvenir. In 2004, he was elected member of the National Union of Folk Artists.

Mamut Churlu had his solo exhibitions in Tashkent in 1988; Feodosiya, Crimea, in 1989; Sevastopol, Crimea, in 1992; Simferopol, Crimea, in 1996 and 2001; Kyiv, Ukraine, in 1997 and 2001; Moscow, Russia, in 1992; St Petersburg, Russia, in 1993; Cologne and Duisburg, Germany, in 1994; Heidelberg, Germany, in 1994 and in 1999.

In 2006, he organized an exhibition of folk decorative art of the Crimea, which was shown in Simferopol, Donetsk, Mariupil, Kyiv, Ukraine and in Warsaw, Poland.

Mamut Churlus works can be seen in museums and private collections of Germany (in Berlin), Ukraine (in Simferopol, Sevastopol, Bakhchisarai, Feodosiya), Uzbekistan (in Tashkent and in Fergana), Russia, Turkey, Austria, Poland, France, Canada, the USA and Japan.









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