« 2022. # 5 (167)

The Ethnology Notebooks. 2022. № 5 (167), 1203—1210

UDK 75.046.3(477)”19″Спас

DOI https://doi.org/10.15407/nz2022.05.1203


LABZIN Vyacheslav

  • ORCID ID: https://orcid.org/0000-0003-3864-1543
  • Postgraduate student,
  • National Academy of Fine Art and Architecture,
  • 20, Voznesenskii uzviz, 04053, Kyiv, Ukraine,
  • Contacts: e-mail: celtic.svl@gmail.com

Abstract. The revitalization of religious life during the last three decades led to the intensification of the art-historical study of the heritage of church painting, especially the masters who were on the periphery of the attention of previous researchers. In this context, we consider it relevant to refer to the prolific, albeit little-known, work of the artist Lidia Spaska. The purpose of the article lies in the fact that with involves historical, art history, literary sources; iconographical and historical materials; to do a factual analysis of the works, and to deeper scientific knowledge about the monumental paintings of Lidia Spaska. The purpose of the article is to clarify the iconographic and stylistic features of some multi-figure works of monumental church paintings by L. Spaska. The object of the research is the religious painting of L. Spaska, and the subject is group compositions based on the example of individual works from the Kyiv-Podil Pokrovska Church and St. Theodosius Church in Lutsk. The methodological basis of the research is a unified method, a systematic approach, methods of synthesis, generalization, comparative-historical, and art analysis. The author comes to a conclusion about L. Spaska’s extensive use of well-known iconographic examples, their extensive authorial interpretation, and follows the aesthetics of modern style.

Keywords: Lidia Spaska, religious painting, Lamentation, Entombment, Apparition of the Virgin Mary.

Received 14.09.2022


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