ТРАДИЦІЙНІСТЬ У РОЗВИТКУ ЖИВОПИСНОЇ ДЕКОРАЦІЇ ВЕЛИКОЇ ЦЕРКВИ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ У ХVIII–ХХІ СТОЛІТТІ
TRADITIONALISM IN DEVELOPMENT OF PAINTING DECORATION OF THE KYIV-PECHERSK LAVRA’S GREAT CHURCH IN THE 18TH – 21ST CENTURIES

Summary/Abstract: The purpose of the article is to study the factor of traditionalism in the development of the complex of murals of the Great Church (the Dormition Cathedral) in the 18th – 21st centuries. The research methodology is based on historical, cultural and art historical analysis. Scientific novelty of the study. Traditionalism is defined as a factor in the development of mural painting of the Kyiv-Pechersk Lavra’s Great Church (the Dormition Cathedral) in the 1720s–2020s. The author reveals that traditionality was implemented in the principle of continuity in the formation of new murals. The imitation of a number of thematic and narrative lines of the seventeenth-century murals in the decorations of the 1720s, as well as the murals of the 1720s and 1770s in the compositions of 1811 and the decorations of the late nineteenth century is studied. The author proves that the main visual source of the reconstruction of the twenty-first century painting was not the painting of the 1720s but of 1840-1843 and some compositions of the 1770s and 1811. The change in the location of traditional subjects is identified as one of the means of innovation in the programmes of new paintings. The continuity of a wide range of compositions, including the themes of the Baptism of Rus and the Pechersk Monastery, is traced. Conclusions. Traditionalism had a significant impact on the development of the monumental painting of the Great Assumption Church in the 18th-21st century. The programmes of the new paintings of the 1720s and especially of 1894 show the imitation of thematic and narrative lines from the previous paintings. During the renovation of the entire church interior (1772–1777, 1840–1843) and exterior (1809), as well as the renovation of certain compositions (for example, in 1811), he imitation of paintings was almost unchanged (this was a requirement of the Kyiv metropolitans). According to the principle of continuity in the XXI century, artists created a baroque image of the Great Church, using archival sources of paintings from 1840-1843, 1811, and 1772-1777. The continuity provided a historical connection between the murals of different centuries in the Dormition Cathedral.

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