From the guide:  This is the first free-standing case in the second room, and it contains pysanky from the Carpathian Mountains.  The large eggs on top are examples of traditional Hutsul goose-egg pysanky.

Hutsul designs are often quite complex, often written in numerous bands.  A very common motif on these pysanky is “resheto,” the cross-hatched net-like design often yellow, that they use to fill in shapes (most other regions use solid color or stripes).  Churches with onion domes are sometimes depicted.  Traditional Hutsul pysanky are unique in their use of horse and deer motifs.

The pysanky facing the wall with photos are recent Hutsul examples from the village of Kosmach; they have a yellow-green-red-black color scheme and are quite popular in Ukraine.  The Hutsuls produce and sell them throughout the country. Those facing the door are older pysanky from the collection of Kalyna Mykolenko written by Mrs. Eudokia Kushnirchiuk in the 1960s; they are much more intricate, and use more traditional Hutsul colors (lots of orange and a dark brown background).

Can you find examples of deer and horse motifs? A tryzub? A church?  Can you point out resheto? 

The designs of the pysanky in this grouping are ethnically Hutsul, and of the Kosmach style. Kosmach is a village in Ivano-Frankivsk oblast which has a distinctive style of pysanka writing, intricate and using much resheto/cross-hatching. The older style pysanky are from the collection of Kalyna Mykolenko; many of these were written by Eudokia Kushnirchiuk, but others are those she collected from unnamed pysankary. The more modern pysanky were written by contemporary artisans in Ukraine, and are from the collection of Arnie Klein. It is interesting to compare the two sets; there has been a shift in the color palette, from yellow-orange-dark brown to yellow-red-black. (For a closer look at the Mykolenko collection, look here.)

The pysanky in this case were written by Eudokia Kushnirchiuk and Ukrainian artisans.

    

  Case 6: Podillia        Case 7B: Hutsul