« 2020. № 4 (154)

The Ethnology Notebooks. 2020. № 4 (154),759—769

UDK 7:2.7.01(477)

DOI https://doi.org/10.15407/nz2020.04.759


HERII Oksana

  • ORCID ID: https://orcid.org/0000-0002-8383-227X
  • Ph. D in Art Studies,
  • Senior Researcher at the Art Studies Department,
  • The Institute of Ethnology of the National
  • Academy of Sciences of Ukraine,
  • 15, Svobody Avenue, 79000, Lviv, Ukraine.
  • Contacts: e-mail: oheriy@ukr.net

Abstract. Introduction. In the last quarter of the 19th century in the Galicia artistic environment there were more and more calls to study the architecture of the native people, to search for the characteristic features of the architectural expressiveness of Greek Catholic churches. Within the romantic direction of historicism, the Neo-Byzantine style was attractive and eloquent for Ukrainians, as it directed the viewer to think about the origins of Christian culture in Ukraine.

Problem statement. A new interest in Byzantine art (after centuries of oblivion) began in the late first third of the 19th century. It arose almost in parallel in Western Europe (Italy, Germany, England, Austria), and in the Russian Empire. However, the development of the Byzantine Revival style in the architecture of both of these centers was different, because it depended on different models chosen to follow, and on different ideas that stimulated the study of Byzantine architecture.

Methods. The article will highlight the characteristics of Western European and Russian development of the Neo-Byzantine style and compare them with the features of the church architectural design in Galicia in the late nineteenth century.

Results. Consideration of the architectural works by Sylvestr Gavrishkevych, Vasyl Nagirnyj, Julian Zakharevych testifies the prevalence of the basic principles of composition and decor, derived from the Western European version of style development. Also Vasyl Nagirnyj deliberately included in his projects some elements observed by him in the St. Volodymyr Cathedral in Kyiv. The constructive interpretation of the Neo-Byzantine style used by some European architects found a response in the projects of Lviv architects too.

Сonclusions. The Byzantine Revivalmovementin the architecture of the 19th century in Galician churches was the first step in the searching for the external architectural forms of the Ukrainians self-identification. Each architectural monument is an important witness to the stage of development of national culture, and therefore requires careful treatment and preservation.

Keywords: sacred architecture, Neo-Byzantine style, do­me, tetraconch, church building.

Received 26.05.2020


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