Особливості композиції «Богоматір Всіх скорботних Радість» у Київському та лаврському іконописі XVIII століття
Features of the Composition "Our Lady of All Sorrowful Joy" in the Kiev and Lavra Iconography of the XVIII Century

Summary/Abstract: The purpose of the article is to identify the features of the iconography of the topic "Our Lady of Joy of All Who Sorrow" in the context of the Kiev and Lavra icon painting of the 18th century. The methodology of the research is based on the principles of system art analysis. An integrated approach to the study of the problem involves a combination of the following scientific methods: an analytical method - to consider the previous research on the selected topic; comparative stylistic and iconographic analysis of monuments - to identify the features of works of art. Scientific novelty is to is to reveal the iconographic features of the composition "Our Lady of Joy of All Who Sorrow" in the Kiev and Lavra icons of the 18th century. Conclusions. Based on the results of complex bibliographic and iconographic research of the icons "Our Lady of Joy of All Who Sorrow" which is from the basement of the iconostasis (1760 1762) of the Church of St. Theodosius Pechersky in the distant caves of the Kiev Pechersk Lavra and the icon of 1786 from the Podolsk Resurrection Church (I 92) from the collection of the National Museum of Art became possible to assert that in the Kiev and Lavra iconography of the XVIII century corresponds to the western type "Madonna Miseriсordia ". As options of this iconographic scheme, according to the author's choice or at the choice of the customer, the compositions "Pitying and visiting in distress of the afflicted" (icon from the iconostasis of the Church of St. Theodosius Pechersky) and "The Madonna of the Mariners" (icon from the Podolsk Resurrection Church) are used. Thus, one of the main features of Kiev and Lavra icon paintings of the XVIII century is the creation of variable images based on a single iconographic type.

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