2020 #4 Zhyshkovych V.

« 2020. № 4 (154)

The Ethnology Notebooks. 2020. № 4 (154), 819—840

UDK 75.046(477)”17/18”Боровиковський В.

DOI https://doi.org/10.15407/nz2020.04.819



  • 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,
  • Contacts: е-mail: zhyshko@i.ua

Abstract. Introduction. The article deals with the Ukrainian artist Volodymyr Borovyk (better known as Volodymyr Borovykovskyj) creative achievements in the religious painting. The figure of the world-famous Ukrainian artist given his fruitful creative period during his stay in the capital of the Russian Empire — St. Petersburg was actively covered by Russian researchers and relatively modestly by Ukrainian ones. Mainly most of them spoke about Borovikovskyj as a high-level portrait-painter, one of the Russian Empire prominent artists in the portrait genre. The less attention received to artist’s religious painting. Especially in the context of his Ukrainian ancestry his icon painting was poorly explained. The need to focus on the Ukrainian origin of the phenomenon of Volodymyr Borovyk — Borovykovskyj activity in general, and his religious painting in particular determines the relevance of the proposed research.

Problem Statement. The purpose of the article is to distinguish the inherent features of the artist’s art, artistic and plastic features, to reveal the phased appearance of the works created by him. The article will outline the main topics and means of expressing in religious painting by Volodymyr Borovyk — Borovykovskyj. The aim is to determine its role in shaping innovative trends in Ukrainian church and pan-European religious painting in the second half of the 18th — early 19th centuries. The object of the study is the iconographic heritage of Volodymyr Borovyk — Borovykovskyj; the subject of research is the peculiarities of the evolution of his creative manner, as one of the important factors in the formation of innovative tendencies in the religious painting of the pan-European artistic space. The article uses the methods of iconographic, iconological and formal analysis, as well as the methods of semiotic analysis and the method of historical and cultural research.

Results. In the article the basic stages of Volodymyr Borovyk  — Borovykovskyj’s creativity are traced by the method of comparative analysis of stylistic features of artistic manner. The main focus is on the study of his work during his stay in Ukraine. In addition, the paintings created by the artist outside the homeland for the iconostasis of the Church of the Intercession of the Blessed Virgin Mary in the Ukrainian village of Romanivka in Chernihiv are analyzed. The main topics and means of expressiveness of the artist in the works on the religious theme are outlined.

Conclusion. Volodymyr Borovyk — Borovykovskyj, having reached the pinnacle in the genre of portraiture, has never abandoned religious subjects in his work. Having been brought up on the traditions of Ukrainian church painting in the Cossack Baroque period, Volodymyr Borovyk — Borovykovskyj quickly understood the artistic and plastic foundations of contemporary European art and brought the religious painting to a new vision, depth of knowledge of the divine. In the late 18th — early 19th centuries Ukrainian Volodymyr Borovyk — Borovykovsky became one of the cohort of the most famous artists of the Russian Empire who worked in the area of church painting.

Keywords: church, iconostasis, painting, iconography, style, artistic features, Volodymyr Borovyk — Borovykovskyj.

Received 4.05.2020


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