Archive
«The Ethnology Notebooks» 2019 year, issue 3 read »
2010 year, issue 3-4 read »
«Narodoznavchi Zoshyty» 2017 year, issue 3 read »
«The Ethnology Notebooks» 2020 year, issue 1 read »

« 2022. # 4 (166)

The Ethnology Notebooks. 2022. № 4 (166), 897—909

UDK 27-523.47-526.62(477.86-21)”16/17″

DOI https://doi.org/10.15407/nz2022.04.879

THE 1675 PASSION OF THE CHRIST ICON FROM THE CHURCH OF ST. NIKOLAS IN KAMYANKA-BUZKA (LVIV REGION): ICONOGRAPHY AND ATTRIBUTION

KOSIV Roksolana

  • ORCID ID: http://orcid.org/0000-0002-1202-1488
  • Doctor in Art Studies, Head of Sacral Art Department,
  • Lviv National Academy of Arts,
  • 38, Kubiiovycha Street, 79011, Lviv, Ukraine,
  • National Museum in Lviv named after Andrey Sheptytskyi,
  • Senior scholar,
  • 20, Svobody avenue, 79000, Lviv, Ukraine,
  • Contacts: e-mail: lanakosiv@yahoo.com

Abstract. Problem statement. Studyof the activity of professional icon painters who worked in the 17th century and localized in Lviv and smaller towns near to it — Kamyanka-Buzka and Zhovkva still remains a priority of art historians. These masters, as it is known, were the leaders in establishing new «fashionable» directions in Ukrainian iconpainting, and iconpainters from other areas looked up to them. If larger ensembles of icons and iconostases, associated with the work of Lviv and Zhovka masters of the 17th century were studied and are well-known, some icons made in the same or similar manner still deserve attention. Such is the Passion of Christ icon of 1675, which comes from the church of St. Nicholas in Kamianka-Buzka, Lviv Region and it is stored at the National Museum in Lviv named after Andrey Sheptytskyi.

The purpose of the articleis to study the Passion of Christ icon of 1675 from the Church of St. Nicholas in Kamianka-Buzka and to introduce it into the context of the activities of icon painters from Lviv, Kamianka-Buzka and Zhovkva.

The methods of formal and iconographic analysis, the method of reconstruction and the method of researching the cultural context were applied.

Conclusions. The 1675 Passion of Christ icon from the church of St. Nikolas in Kamianka-Buzka, as well as the Kamianka-Buzka Passion of Christ icon of 1673 by Matei Domaradskyi, is an important source for revealing the activities of the masters of the Kamianka-Buzka and Zhovkva areas, their artistic contacts, common sources of iconography and stylistics of painting. There is a noticeable common features between the iconpainting of the author of the Passion of Christ icon of 1675 from Kamianka-Buzka and Lviv and Zhovka masters who were oriented towards the Western European patterns. On the basis of archival sources, preserved icons of Apostols from the iconostasis from St. Nikolas church in Kamianka-Buzka and in a comparison with the iconpainting manner of Ivan Rutkovych, who could be an apprentice to the author of the 1675 Passion icon, we hypothetically attribute the studied icon, and some other works, mainly Apostols from the Deesis tier of the iconostasis from the church in Yarychiv, to Kamianka-Buzka painter Roman Mohylnytskyi.

Keywords: icon, church, Passion of Christ, iconpainting center, church art, Kamianka-Buzka, painter Roman Mohylnytskyi.

Received 7.07.2022

REFERENCES

  • Sydor, O. (1998). Icons from Kamianka-Buzka in the collection of the National Museum in Lviv. Galician Gate, 8 (44), 8 [in Ukrainian].
  • Aleksandrovych, V. (2005). Matvii Domaratskyi, painter from Lviv and Komarno. Sights of Ukraine: history and culture, 1, 40—65 [in Ukrainian].
  • Kosiv, R. (2013). Icon «Passion of Christ» of 1673 from Kamianka-Buzka in Lviv region by Matvii Domaratskyi. Sights of Ukraine: history and culture, 8, 10—15[in Ukrainian].
  • Kosiv, R. (2013). Icons on canvas «The Incarnation» and «The Passion of Christ» of 1673 from Kamianka-Buzka in the Lviv region in the context of the work of Matei Domaratskyi. Preservation and research of historical and cultural heritage in museum collections: historical, art history and museological aspects of activity: reports of International scientific conference, Lviv, September 25—27, 2013; National Museum in Lviv named after Andrey Sheptytskyi (Pp. 286—295). Lviv [in Ukrainian].
  • Kosiv, R. (2016). Icons on the canvas «Passion of Christ» from the 17th century in the collection of the National Museum in Lviv named after Andrei Sheptytskyi. Art studies studios: fine and decorative and applied arts. Architecture, 2 (54), 27—46 [in Ukrainian].
  • (1743). General visit of the Lviv diocese in 1740 and 1743. National Museum in Lviv named after Andrey Sheptytskyi; Department of Manuscripts and old printed books (Ркл-17) [in Polish and Latin].
  • Vuytsyk, V. (2004). Churches of Kamianka-Buzka. Bulletin of the «Ukrzakhidproekrestavratsiya» institute, 14, 190—193 [in Ukrainian].
  • Aleksandrovych, V., Kupchynskyi, O., Ovsiychuk, V., & Rudnytskyi, A. (3 eds.). (1994). Two documents to the beginnings of the biography of Ivan Rutkovych. Notes of the Shevchenko Scientific Society. Proceedings of the Art History Section (Vol. CCXXVII, pp. 372—378). Lviv: National Academy of Sciences [in Ukrainian].
  • Zilinko, R. (2012). «Crucifixion with attendants» with scenes from the «Passion of the Lord» from the completion of the Zhovkva iconostasis (1697—1699) by Ivan Rutkovych. Annals of the National Museum in Lviv named after Andrei Sheptytskyi, 9 (14), 80—89 [in Ukrainian].
  • Ovsiychuk, V. (1985). Ukrainian art of the second half of the 16th — the first half of the 17th century. Humanistic and liberation ideas. Kyiv [in Ukrainian].
  • Konstantynowicz, J.B. (1929). Iconostases of the 17th century in the western-Ukrainian ethnographic territory within the borders of the former Republic of Poland (Vol. I, cz. 2); Sanok (typescript). Lviv National Scientific Library of Ukraine named after V. Stefanyk; Research Institute of Library Art Resources [in Polish].
  • Svientsytska, V. (1966). Ivan Rutkovych and the formation of realism in Ukrainian painting of the 17th century. Kyiv [in Ukrainian].
  • Aleksandrovych, V. (2010). Zhovkva as a center of Ukrainian iconpainters and carvers: the beginnings of the tradition. Zhovkva through the ages: the materials of the Scientific conference dedicated to the 15th anniversary of the formation of DIAZ in Zhovkva, April 22—24, 2010 (Issue 1, pp. 375—385). Zhovkva [in Ukrainian].
  • Kubai, M. Artistic heritage of Zhovkva. Retrieved from: http://diaz-zhovkva.org.ua/upload/files (retrieved 5.06.2020) [in Ukrainian].
  • Aleksandrovych, V. (2013). Masters of «small» centers of Ukrainian painting of the historical Peremyshl-Lviv region of the first half of the 17th century. Society Almanac of Social History (Issue 10, pp. 9—30). Kyiv [in Ukrainian].
  • Zholtovsky, P. (1983). Artistic life in Ukraine in the 16th—18th centuries. Kyiv [in Ukrainian].
  • Zilinko, R. (2013). Ivan the Painter as the author of the Savior icon of 1629 from Kamianka-Buzka: to the question of the artist’s creative heritage. Preservation and research of historical and cultural heritage in museum collections: historical, art history and museological aspects of activity: reports of International scientific conference, Lviv, September 25—27, 2013 (Pp. 246—253); National Museum in Lviv named after Andrey Sheptytskyi. Lviv [in Ukrainian].

Read»

Our authors
Oksana Kis. Senior scientific employee, candidate of... read »
Roman Radovych. Researcher, Ph.D. in History. read »
Stepan Pavluk. Prof., full member of NAS of Ukraine,... read »
Kuzmenko Oksana Senior Researcher, Candidate of... read »
On field exploration of russian and belarusian ethnologists and etnolinguists in Ukrainian Polisia 1945—1980s
In the study based on a wide range of literary materials have been comprehensively characterised field research in Polisia of Ukraine, performed by Russian and Belarusian ethnologists during 1945—1980s as well as Moscow ethnolinguists and other researchers from ethnologic centres of Russia, Ukraine and Belarus in the course of realization of Ethnolinguistic Atlas of Polisia program. Particular attention has been paid to geography, methods, themes and research results of scientific projects.
Read »

Daily bread baking of ukrainians in the south-western ethnographical region at the late XIX to early XXI cc.
The paper has dealt with analytic study in prescriptions, signs, customs, methods, ways of selection, procurement and some peculiarities in usage of subsidiary means — water, firewood and leaves in bread baking. The final aim of the mentioned actions had been (and still is) selection of the means and ingredients fit, by their characteristics, for the backing of bread. The paper has demonstrated dependence of bread backing subsi­diary means criteria from the folk nutritional standards and world outlook stereotypes as well as from regional social and economic, natural and geographical factors and peculiarities of material culture.
Read »

Wax candle as ukrainian Christmas and epiphany ritualistic text
For the first time in native ethnology the article has brought some results of special study in sign functionality of a wax candle under the context of Ukrainian Christmas and Epiphany ritualistic text (ritualism of Christmas Eve, New Year, Epiphany Eve and Feast of Epiphany). The study has stated extremely high semiotic position of a wax candle as projection of Sun, mediator between the spheres of sacral and prophane elements, symbolic analogue of human existence, apotropy, cultural symbol re-establishing borders of acculturated space.
Read »

Maternity ritualism by volhynians in publications of the second half XIX to the early XXI cc.
In the article have been considered some basic landmarks for fixing and publication of ethnographic materials on the maternity rites of Volhynia with analytical study in ritual elements, their kinds and territories of origin. The article has also raised a problem of gaps in studies of maternity rites of Ukrainian historio-ethnographic Volhynia.
Read »