ВАРІАТИВНІСТЬ ВІЗАНТІЙСЬКОЇ ХУДОЖНЬОЇ ТРАДИЦІЇ В ХРАМОВОМУ ЖИВОПИСІ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ 1890–1910-Х
VARIATIONS IN THE BYZANTINE ARTISTIC TRADITION IN KYIV-PECHERSK LAVRA CHURCHES’ PAINTING IN 1890S - 1910S

Summary/Abstract: The purpose of the article is to study the embodiment of the Byzantine artistic tradition in the monumantal painting of the Kyiv-Pechersk Lavra in 1890s – 1910s. The research methodology is based on historical, cultural, and art historical analysis. Scientific novelty. The article reveals a weakening in the use of the Byzantine artistic heritage in the monumental painting of the churches in the Kyiv-Pechersk Lavra. The transformation from the systematic use of Byzantine ornaments and the symbolism of gold in the Great Church (the Dormition Cathedral) in the late 19th century to fragments of Byzantine compositions in Art Nouveau ornaments have been traced. The decorative golden background in the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) in the early 20th century has been explored. The use of the term "Neo-Byzantine style" for the painting of the Great Church is proved to be incorrect. The author made the following conclusions on the basis of archival information introduced into scientific circulation. Firstly, the algorithm of creating ornaments and a golden background as the basis of the Byzantine artistic tradition has been observed. Secondly, the authorship and dating of paintings of the Great Church have been clarified. Thirdly, it is determined that the rejection of the Byzantine tradition in favour of the Art Nouveau style in the Refectory Church took place in 1902, along with the change of artists. The significance of preparatory sketches and paintings of the Great Church for the creation of the compositions of the Refectory Church has been emphasised. Conclusions. The Kyiv-Pechersk Lavra did not have the opportunity to return to the Byzantine tradition in the technique of monumantal painting, namely to the technique of mosaics and frescoes. In the paintings of the Great Church (the Dormition Cathedral) and the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) the Byzantine tradition was realised mainly in decorative elements, namely in ornaments and the golden background of compositions. In both churches, the artists implemented thematic and narrative lines in the tradition of late academicism. Along with V. Vereshchagin, V. Fartusov was the author of the paintings in the Great Church. The paintings date from 1897 to 1901. The transition to the Art Nouveau style in the decor of the Refectory Church began in 1902. The ornaments of the Refectory contain elements of national (Ukrainian) motifs and fragments of Byzantine ornaments. The preparatory sketches and paintings of the Great Church served as the pictorial basis for the compositions of the Refectory Church and the Chamber.

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