MANIFESTATIONS OF THE CHINOISERIE STYLE IN THE DECORATION OF THE SAMCHYKY ENSEMBLE IN THE KHMELNYTSKYI REGION

Abstract

The aim of this article is to conduct a thorough study of the Samchyky estate complex in the Khmelnytskyi region as a unique architectural and artistic monument of the late 18th – early 19th centuries. The analysis focuses not only on the history of the ensemble and its cultural role in the region, but also on a detailed analysis of the interiors, decorative elements, and artistic techniques that define its uniqueness. Particular emphasis is placed on identifying and understanding the manifestations of the chinoiserie style in interior decorations, which convey the pan-European fashion for Oriental motifs and, at the same time, demonstrate the local embodiment of these aesthetic trends. The primary objective of the study is to identify the architectural and artistic styles and trends that influenced the development of the Samchyky ensemble. In this context, it is important to trace the synthesis of classicist principles in the planning of the estate complex with Baroque features, as well as the use of decorative elements of the chinoiserie style, which gave the interiors sophistication and exotic color. Looking at these influences shows how European styles – from classicism and baroque to oriental stylizations – were manifested in Ukrainian garden and park art and how the multi-layered nature of cultural interactions is revealed in the example of this monument. Among the key objectives of the study are to trace the history of the estate in a broader historical and cultural context, determine its place in the development of Ukrainian culture, and identify the role of the owners in shaping the artistic image of the ensemble. It is also important to consider the architectural and decorative features of the main palace, which combine European stylistic traditions with local interpretations. The study aims to characterize the decorative interior decoration and reveal oriental motifs in it, as well as their parallels with European art. Special attention is paid to the preservation of the complex and the transformations of the garden and park ensemble in the 19th and 20th centuries, which allows us to trace changes in aesthetic guidelines across different historical periods. The implementation of these tasks clarifies the little-studied aspects of the complex’s history and emphasizes its significance as a monument that embodies the interpenetration of European and Ukrainian artistic traditions.