The Ethnology Notebooks. 2018, № 4 (142), 929–938
UDK 75.052:27–526.62
3–99
DOI https://doi.org/10.15407/nz2018.04.929
Received 24.05.2018
Ziatyk Bohdan – PhD student, lecturer of the department of Sacral Art of the Lviv National Academy of Arts
street Kubijovycha, 38, Lviv, Lviv area, 79000
Contacts: e–mail: bohdan.sbl@gmail.com
Abstrakt. In the article, for the first time, the iconography of temple polychromes of Lviv, executed from 1990 to 2015, is considered in a comprehensive manner. According to the iconographic peculiarities of the polychrome of Lviv temples, it is divided in to two main groups: the Roman Catholic iconography (originated from the XVII century) and the second follow in from the Byzantine, which was reflected in the art of the Princely period. This articles studies the topic of polychrome iconography of Lviv temples over the period 1990–2015, belong in to the second group. The study also examines the tendencies of the iconography of temple murals, executed in a neo–Byzantine style and influenced by the style of modernism. Attention is focused on the iconography of scenes such as «The Eucharist» (Communion of the Apostles), «The Virgin of Incarnation», «The Descentinto Hell», «The Dormition of the Mother of God» and «The Christ Pantocrator», which are characteristic to the ancient Ukrainian and Byzantine traditions. The iconography of Lviv temples polychrome from 1990 to 2015 is compared with the temple murals and icons of the XI–XV centuries, on which we can see similar images.
Keywords: polychrome, Lviv temples over the period 1990–2015, iconography, art of the Princely period.
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