« 2020. № 5 (155)

The Ethnology Notebooks. 2020. № 5 (155), 1081—1096

UDK 7. 046; 7.041.6

DOI https://doi.org/10.15407/nz2020.05.1081


KOSIV Roksolana

  • ORCID ID: http://orcid.org/0000-0002-1202-1488
  • Doctor in Art Studies,
  • Associate professor, Lviv National Academy of Arts
  • Senior scholar, National Museum in Lviv named afterAndrey Sheptytsky
  • 20, Svobodyav., 79008, Lviv, Ukraine
  • Contacts: e-mail: lanakosiv@yahoo.com

Abstract. Problem statement. The study of icons of one stylistic group is an important research area of the 15th—19th centuries in Ukrainian art. Since the vast majority of icons are anonymous, such research is basic for studying the activities of individual painters and iconpainting centers. The study of icons in churches, as well as the study of museum collections, expands knowledge about Ukrainian iconpainting and allows us to go beyond the limited range of works circulating in popular or even scientific publications. In this context, 56 icons of the 17th — first half of the 18th century from the churches in Voinyliv (Ivano-Frankivsk region) stored in the Andrei Sheptytskyi National Museum in Lviv were studied. These icons have never been considered comprehensively and most of them have not been published.

The purpose of the article is to systematize the 17th — first half of the 18th centuries icons from the Voinyliv churches by the manner of painting, to correlate the descriptions of icons from the documents of 18th-century church visits with specific works to reconstruct the original locations, and call attention to works painted by one master belonging to the same iconostasis.

The methods of formal and iconographic analysis, the method of reconstruction are used in the research. The icons are analyzed with the consideration of the cultural context.

Results. The group of the first half of the 17th century icons, originating from the Nativity of the Virgin and the Nativity of Christ churches in Voinyliv reveal a connection with Lviv iconpainting school, what testifies that their authors could have a connection with this school or belong to it. The late 17th — beginning of the 18th centuries icons which we associate with the St. Nicholas church, as well as a set of festive icons and icons of the prophets, have a slightly different style of painting, which finds analogues with the icons from the churches of Bolokhiv, Zavadka, and Dolyna. The peculiar style of painting of these icons allows us to confirm the hypothesis of the existence of a local iconpainting center.

Conclusions. The 17th century icons from Voinyliv expand the geography of influences of the first half of the 17th century leading Lviv iconpainting school and also allow us to talk about the spread of common for Ukrainian iconpainting of the second half of the 17th century of Lviv and Peremyshl dioceses trends by local masters.

Keywords: icon, iconostasis, painting center, church art, Voinyliv, documents of church visits.

Received 25.09.2020


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