« 2019. № 6 (150)

The Ethnology Notebooks. 2019, № 6 (150), 1447—1463

UDK7.046.3

DOI https://doi.org/10.15407/nz2019.06.1447

A FEW NOTES TO THE CREATIVE PORTRAIT OF THE PAINTER FEDOR, A STRIKING REPRESENTATIVE OF THE ICON-PAINTING CENTER OF LVIV AT THE END OF 16th — THE FIRST THIRD OF THE 17th CENTURY

ZHYSHKOVYCH Volodymyr

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

е-mail: zhyshko@i.ua

Abstract. Introduction. The creative achievements of a Lviv artist, author of the famous icon «Praise of the Virgin» from Ripniv village is considered. According to the author’s signature, the icon was created in Lviv in 1599 by painter Fedor, who is identified as Fedir Sen’kovych. The figure of the leading Lviv icon-painter Fyodor Sen’kovych attracted the attention of several generations of researchers, but there is still no definitive opinion on the undisputed authorship of the works he created, and a number of unanswered questions remain, and this is why the relevance of the proposed research.

Problem Statement. The purpose of the article is to distinguish the inherent features of the artist’s trait, artistic and plastic features, to reveal the phased appearance of the works created by him and his workshop. The object of the study is the iconic heritage of Fyodor Sen’kovych; the subject is the peculiarities of the evolution of his creative manner, as one of the important factors of the attribution of the iconographic works of the Lviv artistic center of the late 16th — first third of the 17th centuries. The methodological basis of the study is comparative-typological and historical-cultural methods.

Results. The article, based on the analysis of historiographical sources and preserved works, by using the method of comparative analysis of artistic and stylistic features of creative manner, proves that a number of works that were recently connected with other artists were probably created by Fedor Sen’kovych or under his direction.

Conclusion. The conducted research gives grounds to claim that during the first third of the 17th century Fedir Sen’kovych in two stages worked on the creation of the Assumption and Friday Church iconostases in Lviv. According to art and style signs the icon-writing manner of the artist can also be traced in a number of other churches of Lviv and its regions.

During the first third of the 17th century Fedir Sen’kovych was the most famous icon painter and head of a leading icon-painting workshop, around which a powerful highly professional Lviv icon-painting center was formed. After the death in 1631 the artistic and plastic foundations of Lviv icon painting, laid by Fyodor Sen’kovych were developed by his students and in particular by the successor of his studio Mykola Petrakhnovych Morokhovsky.

Keywords: Lviv, church, iconostasis, icon painting, iconography, style, artistic features, Fedir Sen’kovych.

Received 7.11.2019

REFERENCES

Aleksandrovych, V.S, & Richkov, P.A. (2008). St. George’s Cathedral in Lviv. Kyiv: Tekhnika [in Ukrainian].
Holubets’, M. (1920). Ukrainian painting of the 16th—17th centuries under the cover of Stavropol. In Holubets’, M. Causes to the History of Galician-Ukrainian Art (Vol. 1). Lviv: Printing House of the Stavropigian Institute [in Ukrainian].
Vujtsyk, V. (1994). The fate of the icon «Praise of Our Lady» from Ripnev. Pedigree, 8, 26—29 [in Ukrainian].
Vujtsyk, V. (1972). The newly found work of Fyodor Sen’kovych. Fine Arts, 2, 28—29 [in Ukrainian].
Gruneveg, M. (1980). Description of Lviv. Ed. pre. Ya. Isaevych. October, 10, 109—114 [in Ukrainian].
Aleksandrovych, V.S. (1991). Chronology of the iconostasis of the Assumption Church in Lviv. Ukrainian Baroque and the European context (pp. 141—148). Kyiv: Naukova dumka [in Ukrainian].
Aleksandrovych, V.S. (1999). Fedir Sen’kovych. The life and creative path of the painter of Lviv in the first third of the 17th century. Lviv: city — society — culture: Collection of scientific works. Bulletin of the University of Lviv. The historical series. Special issue (Vol. 3, pp. 44—116). Lviv [in Ukrainian].
Bokalo, I., & Dyba, Yu. (2013). Reconstruction of the iconostasis of the Assumption Church in Lviv. Sights of Ukraine: history and culture, 8 (192), 22—29 [in Ukrainian].
Aleksandrovych, V.S. (2011). Prayer-Deusus (iconostasis) of the Assumption Church in Lviv. In Zubrytskyi D. Chronicle of the Stavropigian Brotherhood (Pp. 355—388). Lviv: Apriori [in Ukrainian].
Svientsits’ka, V.I., & Sydor, O.F. (1990). Heritage of the ages: Ukrainian painting of the 14th18th centuries in museum collections in Lviv. Lviv: Kameniar [in Ukrainian].
Pelekh, M. (2013). Elements of Byzantine and European style of Lviv painting of the first half of the 17th century. Sights of Ukraine: history and culture, 8 (192), 46—51 [in Ukrainian].
Ovsijchuk, V.A. (1985). Ukrainian Art of the Second Half of the 16th the First Half of the 17th century. Humanistic and liberation ideas. Kyiv: Naukova dumka [in Ukrainian].
Sydor, O. (2012). Patriarch Josyf Slipyj and Art. Kyiv; Rome: Religious Society of Ukrainian Catholics «St. Sofia» [in Ukrainian].
Shamardina, N.V. (2008). Fyodor Sen’kovich — is an artist of a transitional age. Kaliningrad: Federal State Technical University [in Russian].
Ovsijchuk, V.A. (1996). Ukrainian Painting of the 10th18th Centuries: Color Problems. Lviv: Institute of Ethnology of the National Academy of Sciences of Ukraine [in Ukrainian].
Anniversary edition in memory of the 300th anniversary of the founding of the Lviv Stavropigi Brotherhood. (1886). (Vol. 1.). Lvov: Publishers of the Stavropigian Institute [in Russian].
Isaievych, Ya. (1996). «Altana in the Middle of Paradise»: Lviv in 1582—1602. Lviv. Historical Essays (Pp. 355—388). Lviv: I. Krypiakevych Institute of Ukrainian Studies [in Ukrainian].
Acts relating to the history of the Lviv Stavropegic Brotherhood. (1904). Archive of Southwest Russia, published by the interim commission for the analysis of ancient acts … (Part 1, vol. 11). Kyiv: Printing House of the Imperial University of St. Vladimira [in Russian].
Zapasko, Ya.P., & Matsiuk, O.Ya. (1983). Lviv old printed books: a literary essay. Lviv: Kameniar [in Ukrainian].
Helytovych, M. (2016). Heavenly Hosts gathered in Lviv. Sights of Ukraine: history and culture, 7 (227), 8—17 [in Ukrainian].
Stepovyk, D.V. (1982). Ukrainian Graphics of the 16th—18th centuries: The Evolution of the Imagery System. Kyiv: Naukova dumka [in Ukrainian].
Aleksandrovych, V.S. (1996). Iconostasis of the Friday Church in Lviv. In Lviv. Historical Essays (Pp. 103—144). Lviv: I. Krypiakevych Institute of Ukrainian Studies [in Ukrainian].
Yarema, V. (1970). Author of icons of the Holy Friday iconostasis. Orthodox Herald, 11, 348—349 [in Ukrainian].
Svientsits’ka, V. (1966). Ivan Rutkovych and the Formation of Realism in Ukrainian Painting of the 17th century. Kyiv: Naukova dumka [in Ukrainian].
Stepovyk, D. (2008). History of the Ukrainian icon of the 10th20th centuries. Kyiv: Lybid’ [in Ukrainian].
Miliaieva, L., & Helytovych, M. (2007). Ukrainian icon of the 11th18th centuries. Kyiv: Dukhovna spadschyna Ukrainy [in Ukrainian].
Pelekh, M. (2010). Iconography of the limit: a rare iconic symbolism of subjects from the Church of the Assumption of the Blessed Virgin Mary of the 17th century in Moriantsi in the Yavoriv region. Apologist. Christian Sacred Tradition: Faith, Spirituality, Art (Proceedings of the Second International Scientific Conference, Lviv, November 24—25, 2010) (Pp. 162—168). Lviv [in Ukrainian].
Pelekh, M. (2010). Stylistic features of the iconostasis of the first third of the 17th — beginning of the 18th centuries from the church of St. Nicholas the Wonderworker from the village Jaktoriv in the Lviv region. Apologist. Christian Sacred Tradition: Faith, Spirituality, Art (Proceedings of the Second International Scientific Conference, Lviv, November 24—25, 2010). (Pp. 169—178). Lviv [in Ukrainian].
Pelekh, M. (2010). Stylistic features of two iconic icons of the 17th century «Salvation with four angels» of the Lviv and Volyn centers of painting. Bulletin of the Lviv National Academy of Arts, 21, 266—274. Lviv [in Ukrainian].
Vujtsyk, V.S. (1988). Fedir Sen’kovych in the context of the stylistic evolution of painting of East Slavic peoples at the turn of the 16th—17th centuries. Progressive socio-political thought in the fight against feudal reaction and Catholic-Uniate expansion in Ukraine (Abstracts of the Republican Scientific-Theoretical Conference. Lviv, April 20—22, 1988) (Pp. 141—143). Lviv [in Ukrainian].

Read»

Our authors
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 »

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 »

Traditional folk clothes of velikobychkovsky hutsuly of XIX — the first half of XX century
In the study based upon numerous field materials, literature sources as well as ethnographic, historio-cultural and regional museum collections has been performed complex analysis in traditional folk clothes by Hutzul population of Velyky Bychkiv village in Transcarpathian region. Detailed descriptions of femi­nine and masculine clothing complexes of the mentioned area have been presented. In characterizing of those main attention has been paid to the detail of cut in separate components of dress; cut of feminine shirt has been added as an illustration.
Read »