Поклон із Києва: київські туристичні листівки кінця ХІХ – початку ХХ століття: створення, контент і використання
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Date
2022
Authors
Диса, Катерина
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Abstract
У статті розглянуто листівки як частину ранньої туристичної інфраструктури: простежено
еволюцію поштівки від її появи і до початку ХХ століття, особливості її виготовлення і поширення.
На прикладі київських туристичних листівок проаналізовано три аспекти цього візуального джерела: специфіку їхнього створення як фізичного об’єкта, змістове наповнення зображень і особливості використання, "живого функціонування" поштівок. Київські "відкриті листи" виготовляли як у столицях імперії, так і місцеві видавці. З часом змінювалися їхній зовнішній вигляд і спосіб виробництва. Змістове наповнення листівок вирізнялося
розмаїттям: вони рясніли зображеннями знаменитих споруд і пам’яток, мальовничих краєвидів,
"продуктивними" пейзажами і жанровими сценами. Значно менше нам відомо про повсякденне використання поштівок. Із добірки київських листівок, відправлених поштою, можна виснувати, що
вибір сюжету був доволі довільним і залежав не так від особистих преференцій, як від специфічних
обставин, які пов’язані з придбанням і відправленням "відкритого листа". Їх підписували і відправляли до інших міст із різною метою: щоб повідомити про успішну подорож, поділитися враженнями про неї, а також сповістити свої новини чи просто дати знати адресатові, що все гаразд.
Today postcards are an essential part of touristic infrastructure: they are sold as souvenirs, collected as a reminder of visited places, and even occasionally sent by post to family and friends. Postcards became a meaningful addition to the arsenal of the tourist industry only in the second half of the nineteenth century. Kyiv "open letters," as the postcards were called in the Russian empire, reflected the same dynamic as in the center of the empire. In this article I study Kyiv postcards of the late nineteenth – early twentieth century as one of the means to popularize the city among the tourists. To go beyond the widespread approach to the study of postcards only from the point of view of its production and subject matter, I am using the methodology of visual-source analysis proposed by Gillian Rose. According to it, postcards are physical and visual objects, and in addition to the discussion of their production and image representation, I also look at how they were used by people who bought them. Kyiv postcards were produced both by publishers in the imperial capital, and by local publishing houses. In the course of time, their outlook changed (an empty space for inscription moved from the front side to the side reserved for the address), as well as type of production (phototype replaced lithography). Subject matter was quite rich and differs from early years of postcards: from depiction of famous buildings and monuments to picturesque sites, "productive" landscapes, and genre scenes. Much less is known about actual use of postcards. From a small set of Kyiv postcards that were sent by post, one can see that the choice of subject matter was arbitrary and depended not only on specific personal preferences but also on specific personal circumstances. Postcards were used as "open letters" and sent to other cities with various purposes – to let close ones know about a successful voyage and share impressions about it, send news about a sender or just let people know that a sender is fine.
Today postcards are an essential part of touristic infrastructure: they are sold as souvenirs, collected as a reminder of visited places, and even occasionally sent by post to family and friends. Postcards became a meaningful addition to the arsenal of the tourist industry only in the second half of the nineteenth century. Kyiv "open letters," as the postcards were called in the Russian empire, reflected the same dynamic as in the center of the empire. In this article I study Kyiv postcards of the late nineteenth – early twentieth century as one of the means to popularize the city among the tourists. To go beyond the widespread approach to the study of postcards only from the point of view of its production and subject matter, I am using the methodology of visual-source analysis proposed by Gillian Rose. According to it, postcards are physical and visual objects, and in addition to the discussion of their production and image representation, I also look at how they were used by people who bought them. Kyiv postcards were produced both by publishers in the imperial capital, and by local publishing houses. In the course of time, their outlook changed (an empty space for inscription moved from the front side to the side reserved for the address), as well as type of production (phototype replaced lithography). Subject matter was quite rich and differs from early years of postcards: from depiction of famous buildings and monuments to picturesque sites, "productive" landscapes, and genre scenes. Much less is known about actual use of postcards. From a small set of Kyiv postcards that were sent by post, one can see that the choice of subject matter was arbitrary and depended not only on specific personal preferences but also on specific personal circumstances. Postcards were used as "open letters" and sent to other cities with various purposes – to let close ones know about a successful voyage and share impressions about it, send news about a sender or just let people know that a sender is fine.
Description
Keywords
історія туризму, візуальні джерела, історія Києва, листівки, ХІХ століття, стаття, history of tourism, visual sources, history of Kyiv, postcards, nineteenth century
Citation
Диса К. Л. Поклон із Києва: київські туристичні листівки кінця ХІХ – початку ХХ століття: створення, контент і використання / Диса К. Л. // Наукові записки НаУКМА. Історичні науки. - 2022. - Т. 5. - С. 107-112. - https://doi.org/10.18523/2617-3417.2022.5.107-112