ІКОНОПИС КИЄВА ТА КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ: кінець XVII – початок XIX ст. (базові терміни дослідження та їх значення)
The iconography of Kiev and Kiev Pechersk Lavra at the end of the XVII – early XIX century: the basic terms in the research and their significance meaning.

Summary/Abstract: The purpose of the article is to clarify such basic concepts as "school", "workshop", "artistic tradition", "style", "manner", "idea", "theme", "story", "traditions" in the context of the iconography of Kiev and Kiev Pechersk Lavra. The methodology of the research is to apply principles of historicism and systematic comparative analysis. Scientific novelty is to clarify the role and meaning of the terms "school", "workshop", "artistic tradition", "style", "manner", "idea","theme", "story", "traditions" of the examples. Conclusions. As a result of the research, it is established that the term "school" defines the association of monuments on a territorial bases (place of creation) Kiev, Kiev Pechersk Lavra; this is a local phenomenon that is caused by territorial limits. "Workshop" is a term mainly used in the context of studying the monuments of fine arts of the Lavra; it means masters, work-related over some objects or orders. Its system of samples in each school in the middle of the XVII century created prerequisites for the formation of various artistic traditions of Kiev and Lavra. Kyiv artistic tradition in the iconography formed with the focus on the samples of European baroque and Mannerism, Lavra’s based on Greek, Athonite, Cypriot. It should be noted that in addition to baroque trunk line (style) in Kiev and Lavra iconography polystylism is a parallel artistic tendency. The main ideas that found a special reflection in the art of the Lavra monastery are the "idea of the Crucified", the theme “The Virgin”, "Lavra as the Destiny of the Virgin", the theme of monasticism is dogmatically connected both with the concept of the Crucified Christ, and with the Mother of God motives. These ideas served as the basis for creating passion motives that make up a separate cycle in the Lavra fine arts, the Virgin plots, which received a special Kiev and Lavra editorship and compilation of iconography of subjects connected with the depiction of St. Fathers of the Caves. Canon Traditionally, for the iconography of the Lavra, was the Greek icon as a model of divinely inspired sacred art; leading works, which icon painters of Kiev oriented on (i.e., the canon), were icons created for iconostasis of the Kiev Pechersk Lavra.

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