Author(s): Olga Olegivna Ryzhova / Language(s): Ukrainian
/ Issue: 1/2014
This paper provides an analysis of recent research and publications on the icon painting of Kiev-Pechersk Lavra of late XVII – early XIX centuries. Briefly reviewed publications of P. Zholtovskoho, P. Umantsev, L. Mylyaevoyi, O. Lopuhinoyi, O. Pitatelevoyi, A. Kondratyuk, Ya. Lytyvynenko, V. Shydenko, O. Sitkarovoyi, H. Byelikovoyi, L. Chlenovoyi, Yu. Korenyuka, O. Ryzhovoyi. It was found that the icon painting of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century, which largely remains in the territory and in the collection of the National Kyiv-Pechersk Historical and Cultural Preserve, may conditionally be divided into two groups. The first group includes icons from ensembles that have been preserved in situ in the Kiev- Pechersk Lavra. The iconostasis of the Trinity Gate Church (1734-1735 biennium) and the Church of All Saints (1741) on the Еconomic gate relates to the first half of the XVIII century. The complex of monuments of the second half of XVIII and beginning of XIX century iconostasis includes cave church (1760-1762 years) St. Theodosius of the Caves, four icons (1767-1769 years) of the iconostasis of the church of the Exaltation of the Holy Cross and Icon from its back side (1789 's), as well as icons of the iconostasis cave church of the Nativity (1802). During all the time the iconostasis ensemble of Kiev-Pechersk Lavra was considered outstanding monument of sacred art and served for visual patterns. In many ways, these iconswere "extremely important" in Kiev icon painting of their time. This branch – iconostasis icons of Kiev Pechersk Lavra – is the greatest in Lavra icon painting. The second group includes the icons that came to our century without their iconostasis but were titles especially for them – they are the icons of the end of XVII century (1691) from the iconostasis of the cave church of reverend Varlaam Pecherskiy (are kept in the church’s north wall) and the icons of XVII – XVIII centuries (1700) from church of Exhalation of the Holy Cross at Blizhni caves (are kept at fond of NKPIKZ), also the icons of the holiday row of the main iconostasis (1719 – 1729) and the iconostasis’ cartouches of the front narthex (1725 – 1729) of Uspenskiy cathedral (are kept at the NHMU collection). Surprisingly, there’s no general art historical research of such bright phenomenon as the icon painting of Kiev – Pechersk Lavra, time borders of which cover the end of XVII – beginning of XIX century. Already famous attractions are too scattered or fragmented and published intermittently. Art analysis is limited to the designation of certain icons belonging to a particular "manners." Therefore, this fact does not allow tracing the evolution of art forms. Therefore, the relevance of the study is to deepen scientific knowledge of icon-painting school of Kiev-Pechersk Lavra and do a thorough, art generalizations regarding one of the most important phenomena of Ukrainian iconography end of XVII – beginning of the XIX century, involving historical, archival and literary sources, iconographic material, factual study of the works. The purpose of the study is to trace and identify issues of formation and development of the Kiev-Pechersk school of icon painting and assembling special Lavra iconography. To achieve this goal it is necessary to perform the following tasks: process studies, which are devoted to the iconography of Kiev-Pechersk Lavra end of XVII – beginning of XIX century, to define the source base and terminology research, classify and to characterize the textual, visual and material sources, which are formed on the basis of style and iconography monuments and carry out thorough investigations of art and trace the formation and development of style and iconography, to track changes iconic traditions, to determine the characteristic stylistic and iconographic features icons created in icon painting workshops of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. The object of the research is the process of formation and development of the style and of iconography the icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. The subject of the study is, first and foremost, memo icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century, preserved in situ, as well as from museum collections NZSK, NKPIKZ, National Art Museum. Secondly, text, visual and material sources, formed the basis for the style and iconography in icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. Thus, gradually, along with the study of the works and primary sources, you can at least come close to being able to create a single research about the history of icon painting school of Kiev-Pechersk Lavraof the end of XVII – beginning of XIX century. The most comprehensive list of publications on the icon painting school of Kiev-Pechersk Lavra of XVII – beginning of XIX century is given in the "Вibliography".
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