Стилістичні та іконографічні особливості ікони "Успіння" з колекції Національного художнього музею України
Stylistic and Iconographic Features of the "Assumption" Icons from the Collection of the National Art Museum of Ukraine

Summary/Abstract: The purpose of the study is to find out the features of the style and iconography of the monument and to consider the icon in the broad context of the Kiev and Lavra iconography of the XVIII century. The methodology of the research is to use the principles of historicism and comparative analysis. Specifics of material structure of the icon are identified with technical and technological studies, that included optic studies of the surface of the painting in the visible direct and side light source, in the infrared (IR-) and ultraviolet (UV-) radiation range, layered visual microscopic study of the surface of the paint layer, sampling of soil and paint layer; determination of soil composition and pigments of the paint layer. Scientific novelty is in revealing the stylistic and iconographic features of the monument, namely: in the icon composition the sacred historical aspect of the sanctuary's existence is emphasized, the style of the icon indicates that the icon painter was familiar with the icons and engravings of the monasteries of Kiev, Chernigov, the artistic tradition of the Armory Chamber; In the process of research, stylistic analogies are found among the monuments (icons and engravings) of the Lavra and Chernigov artifacts (icons and engravings) origin, icons of the artistic tradition of the Armory Chamber, as well as an icon from the collection of the Pskov State Unified Historical Architectural and Art Museum of the Reserve (Inventory No. 1601), which for today is the only iconographic analogue of the icon from the NCHMU among the monuments of icon painting. Conclusions. Based on the results of complex (stylistic, iconographic and visual optical) studies, it became possible to determine the creation of the icon "Assumption" (Inventory No. I 61, NXMU) to masters from Lavra. In particular, it is more likely to attribute the execution of the icon to Ivan Shchirsky.

• Details
• Contents