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The Ethnology Notebooks. 2019, № 6 (150), 1447—1463

UDK7.046.3

DOI https://doi.org/10.15407/nz2019.06.1447

A FEW NOTES TO THE CREATIVE PORTRAIT OF THE PAINTER FEDOR, A STRIKING REPRESENTATIVE OF THE ICON-PAINTING CENTER OF LVIV AT THE END OF 16th — THE FIRST THIRD OF THE 17th CENTURY

ZHYSHKOVYCH Volodymyr

ORCID ID: https://orcid.org/0000-0003-2699-4907

Ph.D., Senior Researcher of the Institute of Ethnology

of the National Academy of Sciences of Ukraine,

Department of Art Studies,

15, Svobody Avenue, 79000, Lviv, Ukraine

е-mail: zhyshko@i.ua

Abstract. Introduction. The creative achievements of a Lviv artist, author of the famous icon «Praise of the Virgin» from Ripniv village is considered. According to the author’s signature, the icon was created in Lviv in 1599 by painter Fedor, who is identified as Fedir Sen’kovych. The figure of the leading Lviv icon-painter Fyodor Sen’kovych attracted the attention of several generations of researchers, but there is still no definitive opinion on the undisputed authorship of the works he created, and a number of unanswered questions remain, and this is why the relevance of the proposed research.

Problem Statement. The purpose of the article is to distinguish the inherent features of the artist’s trait, artistic and plastic features, to reveal the phased appearance of the works created by him and his workshop. The object of the study is the iconic heritage of Fyodor Sen’kovych; the subject is the peculiarities of the evolution of his creative manner, as one of the important factors of the attribution of the iconographic works of the Lviv artistic center of the late 16th — first third of the 17th centuries. The methodological basis of the study is comparative-typological and historical-cultural methods.

Results. The article, based on the analysis of historiographical sources and preserved works, by using the method of comparative analysis of artistic and stylistic features of creative manner, proves that a number of works that were recently connected with other artists were probably created by Fedor Sen’kovych or under his direction.

Conclusion. The conducted research gives grounds to claim that during the first third of the 17th century Fedir Sen’kovych in two stages worked on the creation of the Assumption and Friday Church iconostases in Lviv. According to art and style signs the icon-writing manner of the artist can also be traced in a number of other churches of Lviv and its regions.

During the first third of the 17th century Fedir Sen’kovych was the most famous icon painter and head of a leading icon-painting workshop, around which a powerful highly professional Lviv icon-painting center was formed. After the death in 1631 the artistic and plastic foundations of Lviv icon painting, laid by Fyodor Sen’kovych were developed by his students and in particular by the successor of his studio Mykola Petrakhnovych Morokhovsky.

Keywords: Lviv, church, iconostasis, icon painting, iconography, style, artistic features, Fedir Sen’kovych.

Received 7.11.2019

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