van Rus Prince Volodymyr the Great. His design for the Ukrainian coat of arms was officially adopted by the UNR Rada on 22 March 1918.
In September 1918, Krychevsky accepted a proposal to head the Myrhorod Ceramics Institute. Krychevsky quickly completely reorganized the school by adopting a new curriculum, introducing Ukrainian as the language of instruction, and inviting teachers from Kyiv and Poltava to join the faculty.
In 1919, Myrhorod was seized by Bolshevik troops. The head of the Red Army unit (and later a head of the local Cheka), Pavlo Nechesa, arrested Krychevsky on three separateaoccasions on information gleaned from local communists. With each arrest, however, Krychevsky was defended by the local community and students, and spared execution. Years later, Nechesa became the director of the Odessa Film Studio which Krychevsky himself would join in 1925. 201 In mid-1919, Krychevsky left the Ceramics Institute, closed down by the Bolsheviks, and returned to the Kyiv Art Academy, which had had its charter dismissed and property confiscated. In 1922 when the Academy was reopened, Krychevsky worked both there and at the Kyiv Architectural Institute. In that year he was also elected a full member of the All Ukraine Academy of Science (AUAS).
In 1925, the All Ukraine Photo Cinema Administration (VUFKU) invited
Анонс фільму Петра Чардиніна Тарас Трясило (1926). Журнал Кіно, 1926
Krychevsky, the preeminent authority of the national Ukrainian motif, to take part in a project. He was to design a film set and advise the crew working on a biographical feature film, Taras Shevchenko, to be directed by Petro Chardynin and starring Amvrosii Buchma. This marked the first time in the history of Ukrainian filmmaking that a film director sought input from an art history consultant. In 1926, Krychevsky designed two VUFKU historical films: Taras Triasylo and Mykola Dzheria. In these films, filmmakers were for the first time working on themes from Ukrainian history, and by doing so were manifesting the genesis of a truly national cinema. Following these projects, Krychevsky stayed on at Odessa Film Studio full-time.
Announcement of Petro Chardynin's film Taras Triasylo (1926). Kino magazine, 1926