ВИДАННЯ КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ ЯК ДЖЕРЕЛО АТРИБУЦІЇ РОЗПИСІВ КИЇВСЬКОГО СОФІЙСЬКОГО СОБОРУ XVIII СТОЛІТТЯ – 1840-Х РОКІВ
KYIV-PECHERSK LAVRA’ PUBLICATIONS AS THE SOURCE FOR THE ATTRIBUTION OF KYIV ST. SOPHIA CATHEDRAL MURAL PAINTINGS, 18TH CENTURY – 1840S

Summary/Abstract: The purpose of the article is to attribute mural paintings in Kyiv St. Sophia Cathedral, 18th century – 1840s. Methodology. The research is based on the historical and cultural, art study analysis for the studies Kyiv-Pechersk Lavra’ publications, historical sources, the preserved mural paintings, for the attribution mural paintings in Kyiv St. Sophia Cathedral, 18th century – 1840s. Scientific novelty. The attribution of the mural paintings dated the 18th century – 1840s in Kyiv St. Sophia Cathedral has been performed. The essential topical and plotlines have been determined in the cathedral compartments (in the main altar, transept, central dome, central dome square, central nave, narthex, choirs). The dating of the Baroque paintings has been determined (without side altars). The genesis of the composition “The Adoration of the Holy Trinity” in the choirs has been observed. The topical and plot lines of the complex of icons in the main altar have been determined. Conclusions. The Kyiv-Pechersk Lavra’ publications are the historical basis for the study of the Kyiv St. Sophia Cathedral painting decoration dated 18th century – 1840s, including the topical and plot lines, and iconography of compositions. The main volume of the cathedral was painted after 1701 to 1724, and the choirs were painted from 1767 to 1770 (among them the images of martyrs and saints in the altar of St. Andrew the-First-Called painted in 1770) by the Baroque compositions. In 1771 scenes of the Passions of our Lord cycle were painted in the narthex and the images of Chernihiv wonderworkers were painted on the pillars. In 1773 the images of the I–V Ecumenical Councils were renewed (drawn anew). In 1829−1830 the compositions in the central dome drum and central dome square had been renewed (drawn anew). The iconography of the composition “The Adoration of the Holy Trinity” (west choir) was analogous to the work of A. Durer’s “The Adoration of the Holy Trinity (Landauer Altar)” (1511). The Kyiv St. Sophia’s composition was the replica of the painting in the Holy Cross Church (Braunsberg, now Braniewo in Poland). The leading theme of the complex of icons in the main altar was the prefiguration of the Eucharist.

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