« 2021. # 5 (161)

The Ethnology Notebooks. 2021. № 5 (161), 1201—1217

UDK 271.2-523.47(477. 83-22)”15″

DOI https://doi.org/10.15407/nz2021.05.1201



  • ORCID ID: https://orcid.org/0000-0001-5839-9585
  • Candidate of Arts, Associate Professor
  • Head of the department of ancient Ukrainian art
  • Andrey Sheptytskyi National Museum in Lviv
  • Svobody avenue, 20, 79000, Lviv, Ukraine
  • Contacts: e-mail: helytovychm@yahoo.com

Abstract. In the article for the first time is made an attempt to consider as a whole the big complex of stylistically related icons of the second half of the XVI century, which is associated with works of one of the few painters of Ukrainian icon painting of that time. His name is recorded on the monument — master Dmytriy. His «Savior Pantocrator» from 1565 belongs to the most famous masterpieces of Ukrainian art. There is analyzed artistic and iconographic features of the eleven famous works of this icon painter, which come from three churches in the Valley of Ivano-Frankivsk region.

Creativity of the Dimitri in the broader context of the Ukrainian iconography of the second half of the XVI century is analyzed for the first time. New research shows that his activities have had an impact on important processes that took place in the Western Ukrainian sacred art of the last third of the XVI century. Painting and figurative features of Dmytriys works which distinguish them from the general background of those times Ukrainian sacred painting are indicated.

It is considered a number of iconostasis ensembles and icon complexes in which similar figurative, stylistic and iconographic characteristics are traced.

Such is the iconostasis from the church of the Cathedral of the Blessed Virgin in the village Lybokhora. It belongs to the three oldest fully preserved three-tiered iconostasis complexes of the XVI century. The proximity of places of origin of monuments — town Dolyna and village Lybokhora is an additional argument for their belonging to one painting environment. These sights also include two iconostasis fragments from the churches of St. Nicholas in Kamyanka Buzka and the Holy Spirit in Rohatyn.

Among the icons of other stylistic groups and trends that existed in Western Ukrainian iconography of that period, they are most distinguished by the type and color, technical and technological characteristics. An individual monuments of similar style are also considered. Based on the systematization of monuments, there is reason to believe that the master Dmytriy is one of the brightest Ukrainian icon painters of the second half of the 16th century, and the most expressive artist of a «monumental approach» among the painters working in a similar style. Icons of this stylistic direction are an essential part of the total volume of Western Ukrainian icon painting of this period, giving it a lot of dimension in figurative, iconographic, coloristic aspects. There is expressed an assumption about the influence of the master Dmytriy on the development of an entire stylistic line in Western Ukrainian painting of the second half of the 16th century, in which Balkan specimens found a clear echo.

Keywords: research, master, icon, stylistics, tradition, se cond half of the 16th century.

Received 14.09.2021


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