« 2021. # 5 (161)

The Ethnology Notebooks. 2021. № 5 (161), 1218—1233

UDK 27-523.47-526.62(477.86-21)”16/17″

DOI https://doi.org/10.15407/nz2021.05.1218


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
  • 38, Kubiiovycha Street, 79011, Lviv, Ukraine
  • Contacts: e-mail: lanakosiv@yahoo.com

Abstract. Problem statement. In the collection of the National Museum in Lviv named after Andrey Sheptytsky (further — NML) there is a group of the 17th — early 18th century icons from the churches in Voinyliv, Yezupil, Rohatyn and Dolyna in Ivano-Frankivsk region, which presents the direction of development of church art in this area. More detailed study of these icons allow us to compare them with stylistically similar works and highlight aspects of the development of local icon painting.

The purpose of the article is to systematize the icons from the Dolyna churches in the manner of painting, to correlate the descriptions of icons from the documents of 18th century church visits with specific works to be able to reconstruct the original location of some and call attention to works painted by one master, belonging to the same iconostasis.

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

Conclusions. The 17th — early 18th century icons from the Dolyna churches in the collection of the NML show similar tendencies as the group of previously researched icons of the first half of the 17th century from the churches in Voinyliv (NML). A group of mid-17th century icons that we associate with the Archangel Michael church in Dolyna — three Sovereign tier icons have a common manner of painting with two icons from Bolokhiv in Ivano-Frankivsk region, in terms of the overall composition of the frames — with icons in the Sovereign tier of the iconostasis in the Holy Spirit church in Rohatyn (1650), and the stylistic of painting is similar with the Sovereign tier icons of two Holy Paraskeva in the iconostasis of St. Paraskeva church in Lviv (1640-ies). These icons, as well as festive icons from Dolyna, show the influence of icon painting of the Lviv school. Two icons associated with the Church of the Nativity of the Virgin Mary in Dolyna — the icon of the Virgin Hodegetria with the praise and Passion of Christ icon (1630—1640-ies) have similar manner of interpretation of figures so, we assume, they are painted by one master. The Descent of the Holy Spirit icon (early 18th century) from Dolyna shows a connection with the works of the authors of the Bohorodchany (Skyt Manyavskyi iconostasis), actually the workshop of Yov Kondzelevych, which apparently influenced the development of local iconpainting.

Keywords: icon, iconostasis, icon painting center, church art, church, Dolyna town, documents of the 18th century church visits.

Received 10.09.2021


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