The Ethnology Notebooks. 2021. № 3 (159), 675—688
- ORCID ID: https://orcid.org/0000-0002-8836-8955
- fellow researcher of the Ethnology Institute
- of the National Academy of Science of Ukraine,
- junior researcher,
- National Museum in Lviv named after Andrey Sheptytsky
- 20, Svobody av., 79008, Lviv, Ukraine,
- Contacts: e-mail: firstname.lastname@example.org
Abstract. Introduction. The works of the third quarter of the 16th century of the tentatively named master of the icon Lord’s Transfiguration from the Church of the Annunciation of the Theotokos from Yabluniv, Turka District in Lviv Region, are considered. These paintings mark the origins of one of the largest painting centers, whose activities can be traced back to the second half of 16th — early 17th centuries. These examples, for the first time in the Ukrainian iconpainting, represent the reproduction of the landscape as an authentic reality, as well as the introduction of drapery ornamentation, which associatively resonates with folk embroidery.
Problem Statement. These paintings have not yet been the focus of a separate research where they would be structured according to the painting style of the anonymous master of Yabluniv’s Lord’s Transfiguration. Some of them have not been attributed and put into scientific circulation yet.
The Purpose of the article is to systematize the paintings that correspond to the style of the master of the icon Lord’s Transfiguration from Yabluniv. Consider their artistic features and iconography, as well as specify the date. The methods used for this purpose include formal analysis, cultural context and reconstruction. The methods of iconography and iconology are used to trace the peculiarities of the interpretation of plots. The object of research is the icons, the Royal Door and book miniature paintings marked by the painting style of the master of the icon Lord’s Transfiguration from Yabluniv. The subject of research is the artistic, stylistic and iconographic characteristics of the paintings.
Results. Twenty one paintings have been identified according to a number of artistic and stylistic characteristics that belong to the creative heritage of the master of the icon Lord’s Transfiguration from Yabluniv.
Conclusion. The iconographic paintings of the tentatively named anonymous master of the icon Lord’s Transfiguration from Yabluniv should be dated back to the third quarter of the 16th century. The painting style of the works identifies the master with professional training whose paintings remain faithful to the Byzantine traditions with a courageous implementation of realistic tendencies based on national culture. Relatively speaking, a new artistic era in the Ukrainian painting in its final period under the aegis of the Byzantine traditions begins from these paintings.
Keywords: icon, iconography, stylistics, master of the icon of Transfiguration from Yabluniv, painting center.
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