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JanuszRadziwill (21 VII 1579—7 XI 1620), the castellan of Vilnia, еlder son of Krzysztof Radziwiłł nicknamed “Piorun” was a famous person in the Polish–Lithuanian Commonwealth. His political and military career from the beginning has encountered the obstacles made by the king and the regalists in the person of Jan Karol Chodkiewicz. Abandoned of the opportunity to hold senators position, he focused on the activities if the Sejm and the defense of dissidents. The Polish-Swedish War, and later the “Zebrzydowski’s rokosz” (1607-1608), brought him the reputation of a victorious leader. Analysis of literary works and works of art showed that the oldest son of Radziwiłł nicknamed “Piorun” represented himself as a leader in defense of the faith and interests of his Fatherland. His death had a great resonance in society, as witnessed by numerous occasional works, written by writers and preachers, associated with Radziwill lines of the Birże. The report from the funeral of the castellan of Vilnia broadens the group of sources concerning the funeral ceremony of Janusz Radziwill. We pay attention on the unknown aspects of the act of Janusz Radziwill’s funeral, which took place on February 12-16 1621, and on his image in contemporary society. Janusz Radziwill’s funeral was a a classical example of the pompa funebris of the Sarmatian military commander. At the funeral ceremonies are characteristic features such as the presence of castrum dolores, coffin portrait, funeral flags, panegyric sermons. The burial ceremony combined bilingual religious ceremonies, military parades (or even the triumphal procession, but without war loot), throwing and crushing copies, spears that were characteristic of honoring military dead. Comparison of the funerals of Krzysztof Radziwill, nicknamed “Piorun”, and his son shows that they were acting to a similar scenario with a funeral home characteristic for this house.
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The article concerns the duties of Orla residents on Podlasie between 1614–1695, i.e. while being in the possession of Radzivills of Birże line. The described obligations were divided into two categories according to the form of the obligation (money, duty in nature, feudal service) and the person towards to whom they were fulfilled (the owner of the city, leasehold, religious institution, internal self-government and the state). Within the article, it has been presented what those duties looked like as well as how they were changing over the years, while some of them were disappearing and the others were emerging. It is worth mentioning that their height, form and execution procedure evolved too.
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The paper deals with the diplomatic, political, trade and cultural activity of the well-known man from Herzegovina, count Sava Vladislavić, born in Dubrovnik. It provides a short review of his trading activities in Venice, Spain and France, and then in greater detail sheds light on his business and his political-intelligence work in Constantinople at the end of the 17th and the beginning of the 18th century for the state interests of the czarist Russia. Gifted and educated, tactful, with good knowledge of west and east languages, Vladislavić gained an excellent insight into the circumstances in the Ottoman Empire. From 1705 to 1738 he lived mostly in Russia, becoming one of the most accomplished Russian diplomats and one of the richest persons in the czarist Russia. During his stay in Venice in 1716-1722, he did several different tasks (trading, negotiations with the Pope Clement XI about the concordat); in these activities, he left a deep trace collecting statues, busts and other works of art for the decoration of the newly-founded Russian capital Sankt Peterburg. The peak of his diplomatic state activity was his diplomatic mission in China in 1725-1728.
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In the article for the first time in national study of art considered by the academic theory of dance and ballet renowned choreographers of the XVII−XIX century. Analyzed and translated into the state language of the unique theoretical foundations of the masters of dance and ballet Raoul-Auger Feuillet Jean George Noverr Carlo Pasquale Francesco Raffaele Baldassare de Blasis Leopold Adis August Bournonville.
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The article refers to the spiritual development of culture of Ukraine and Greece in cultural dialogue and on samples manuscript heritage XVII-XVIII centuries. The parallels performance and features from a new angle on the material manuscript heritage of both countries. There are comparative characteristics and interesting examples of manuscript heritage substantiates this theory. Addressing issues related to development problems and concurrency features of spiritual culture of Ukraine and Greece XVII-XVIII centuries. There is an urgent need for research of this theory in cultural environment, particularly in terms of issues related to the dialogue of cultures Ukraine and Greece. The research is based directly on samples of cultural relations between Ukraine and Greece. The study put the manuscript heritage of Ukraine and Greece as bright expression of the cultural traditions of both countries. The scientific problem of this work is to investigate the laws of parallelism on samples of Ukrainian-Greek cultural dialogue through handwriting heritage of both countries. The development of Ukrainian-Greek relations is constant motion parallels and features. Parallel creates special tendency. In parallel, born of spiritual culture characteristics, form the identity, traditional, exclusivity We consider these actions as analogies, similarities, characteristics of communities; repetition, duplication of cultural traditions and more. The term parallelism(gr.. παραλλελος) is the one that comes nearby. It is the parallel development of the individual and the general, individual and tribal. We investigate how parallelism is equal to the entire area of the distance between the lines or planes. This mathematical definition parallelism very well suited to the characteristics of cultural dialogue Ukraine and Greece, and points to ways and directions of the two cultures. There are parallelism and features of spiritual culture. They are inseparable and Ukrainian Greek. Cultural heritage is under constant influence. A clear indication of it is Ukrainian Greek manuscript heritage. The conclusion of the foregoing is that really Ukrainian Greek culture: developing parallel but never together. It is equal to the distance across the space between them; creates a special parallel and parallel forms special.
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Purpose of the article. Any new phenomena do not occur by themselves, they are formed at a certain foundation, which can trace its roots to the most ancient layers of human vital activity. This fully pertains to the phenomenon of intercourse contemplation. By reflection we mean the cult of fertility preservation and transformation of its elements in traditional rituals and objects of mass culture. Novelty. During the transformation in new conditions, totemic feast was the beginning of ritual actions and works of art. Sexual intercourse was substituted with the symbols, only composition remained unchanged. Research methodology. Descriptive research method with the elements of a comparative method, where appropriate, is used. Results. Key fundamentals of the hunting worldview are reflected in totemic feast, which involved killing and consumption of the meat of totem and joining incestuous sexual relations with the members of their own tribe. It should be noted here that the content of totemic feast contained a complete plot with perfect composition: exposition – initial situation, rising action – killing totem, pre-climax – eating meat of totem, climax – overall orgy with incestuous intercourse, dénouement – repentance. Totemic feast contained orgy of the participants and apparently had no objections that any orgy had the audience who actively or passively contemplated this action. Sexologists define the following stages of intercourse physiology: excitement, plateau, orgasm, resolution. This is another well-shaped composition where each phase corresponds to building elements – exposition, rising of action, climax and dénouement. We can assume that the first natural work of art for primitive man was contemplation of sexual intercourse during totem feasts, ministries to orgiastic cults, conducting rites associated with fertility and so on. Classical Greek tragedy arose from totemic feast of ancient hunters, and interim stage was orgiastic feast of Dionysus, which revived the mythical god murder. Tragedy, unlike Dionysius, divides participants into actors and spectators, and reality is replaced with symbols. The task of the tragedy is to bring the audience to catharsis not due to direct involvement in the creation of sin, but only contemplating acting. Contemplation of intercourse in ceremonies was accompanied by the use of obscene language, filthy songs, dances with sultry movements, shouting and laughing; substances that have an impact on psyche and body turn-on – alcoholic, psychotropic, narcotic were widely used; were permitted manifestations of antisocial behavior prohibited at any other time. Since the totemic feast is associated with matrilineal pattern of society, one should pay attention to women’s ceremonies in traditional and modern rituals. These include "kolodkuvannia" and funeral of Yarilo or Kostrubonka on Green holiday – the most demonstrative ceremonies that preserved manifestations of anti-social behavior. All this suggests that before the transformation a ceremony could contain sexual relations, including collective that must have spectators and thus contained the phenomenon of contemplation. Among family rituals, the most characteristic in terms of contemplation of sexual intercourse is wedding ceremony of "pantry" in which a bride had to prove her chastity. No doubt that the ceremony is the transformation of orgiastic part of totemic feast. To understand the limits of transformation, one should refer to the earliest record of the Ukrainian wedding carried out in the first half of the 17th century, where guests acted as spectators of the act of defloration. The most completely phenomenon of contemplation of sexual intercourse in modern mass culture is reflected in pornography that fully uses achievements of cinema. During totemic feast, a primitive man was able to easily keep an eye for coitus; during the next period of development the actual sexual act was replaced by symbolism that deprived the man of the right to see the real action; during the third stage modern means of communication returned man the possibility to contemplate. Thus, in ancient time people contemplated sexual intercourse just like modern consumers of porn and erotic movies. Therefore, works of any direction may expect popularity and success among the audience provided that, the basis for both their form and content constitute natural, time-tested plots that reflect worldview tendencies developed at the dawn of humanity formation. Not the fact of sexual intercourse contemplation itself but compositionally built act where its climactic part is the most important and consequently the most influencing has significant impact on the spectator. During the transformation in new conditions, totemic feast was the beginning of ritual actions and works of art. Sexual intercourse was substituted with the symbols, only composition remained unchanged. These requirements are stable for fertility cult, calendar and family rituals, works of art, forms of modern culture and mass culture. The results may be used for the research of folk rites, works of art and modern forms of mass culture.
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Purpose. The aim of the study is to prove the world-view significance of the Cossack spiritual culture in the cultural and art processes in XVII-XVIII centuries that took place in Ukraine under the influence of all-European Baroque trends and phenomenon of Ukrainian Cossacks and to define genre-thematic and artistic-imaginative features of the Cossack decorative and applied arts, which stay in the area of the existing prejudices in the context of general trends of style development of the Ukrainian art of the period under consideration. Methodology. The methodology of the research consists in the use of comparative, historical-cultural and hermeneutic methods. Mentioned above methodological approach allows to study stylistically the monuments of the Cossack decorative and applied arts, thanks to which one could affirm its authenticity and originality. Scientific innovation. The scientific novelty of the research is related to the inclusion of the Cossack decorative and applied arts into the cultural context of Baroque, with analysis of art and plastic embodiment of spiritual values in the applied art of the Ukrainian Cossacks. Because of insufficiently study of the Cossack spiritual culture and also because of the fact that there are very few relevant theoretical sources on the Cossack Art we have studied the samples of decorative and applied arts of XVII-XVIII centuries on the territory of Zaporozhia`s vast of land. While studying these cultural artifacts we were proceeding from the fact that the religious-ideological and artistic and stylistic features of the Cossack`s Baroque could be derived from art symbols, which in Cossack Baroque style were based on the unity of art and religion. Conclusion. The author concludes that the decorative and applied arts of the Ukrainian Cossacks of XVII–XVIII centuries are a vivid example of a syncretic mix of original folk basis of Ukrainian ethnic culture founded on the harmonious combination of local artistic traditions with religious principles and aesthetic characteristics of the Cossack Baroque.
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The purpose of the work. The research studies the famous Ukrainian composer M. Skoryk’s music works (second half of XX – beginning of XXI centuries), which relate to the stylistic trends of neoclassicism and neofolclorism. Methodology. The research carries out the stylistic analysis of a number of composer's works, reveals new traits in his music, written in these styles, and carries out a comparative analysis of the Skoryk’s compositions and the works of other composers. Scientific novelty. The study has identified the specific features used by M. Skoryk in these styles. If his neoclassicism has originated from the synthesis of Baroque features and modern music language, his neofolclorism has few variants: 1) folk melody is intact – harmony is modern 2) folk melody does not change – backup is updated: harmonically-rhythmically-timbrally 3) author's improvisation in folklore sense is synthesized with the help of modern means of music expression: harmony, rhythm and orchestration. Conclusions. The article is focused on the students of music schools. It will help them to study Ukrainian and foreign music history of the XX century. The following need arose: along with the main theme (innovative features of Skoryk’s music written in the styles of neoclassicism and neofolclorism) to reveal the formation and evolution of these styles in European music of the first half of the ХХ century. (M. Ravel, B. Bartok, P. Hindemith, I. Stravinsky).
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The article is devoted to spatial changes in the music and dance relationship over the XVI–XVII centuries. The stages of development of the musical and choreographic combinations, the characteristics and problems of coexistence in one space of ballet are reviewed. The author's opinion focused on the nature of the interactions of dance and music components. The historical evolution of ballet space associated with the process from single part to the whole, where the sound-gesture appears elementary spatial design and subsequent modifications – direction in the way of its structuring. Major transformational changes in the musical and choreographic structures of the above-mentioned period are coexistence, adaptation, imitation and interference.
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In this article we`ve been explored the features of the, probably, one of the most character universes in the classicist period – binary logic. This elements have been analyzed in the three magnificent levels such as philosophy (dualism, dialectic etc.), mathematics (the binomial theorem, the G. Leibnitz`s binary scale system), musical analysis, where a period has been an etalon of this logic. The era that combines the second half of the XVII and beginning of XVIII century, entered the history as being endorsed rationalist and scientific philosophy. Any phenomenon is explained by the use of scientific methods and conventional logic operations. In this context, the era of classicism evolved to such an attitude as that again revived the ancient knowledge of world harmony ideas through scientific methods and precise measurements. However, this is a something new, more materialistic level (which is not always implies the existence of God). As a result, while the formation was launched up to date picture of the world. The development of natural sciences, computer science, new discoveries in physics, astronomy, and geography significantly have expanded the frontiers of understanding the surrounding world and the laws by which they operate.
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Fitzwilliam virginal book (FVb) –is the most volumetric collection of English keyboard music of the middle of XVI-XVII centuries that exists nowadays, it is impossible to overestimate its significance. It consists of 297 keyboard works of the most outstanding English composers-virginalists. FVb contains 50 of G. Farnaby’s keyboard pieces that can not be found in any hand-written or printed music source of that time. FVb also contains 19 of P. Phillips’s keyboard pieces from 25 ones that have survived till nowadays. Moreover, FVB contains more than a half of W. Byrd’s keyboard heritage, and what is the most important, it contains pieces of different years (both early and later) that give us the opportunity to have a complete view of great master’s keyboard works. FVb is a subject of keen interest for every researcher who studies creative works of English composers of the turn of the 16th and 17th centuries and genres of music they worked in (especially dances and folk songs treatment). All existing works about FVb can be divided into three categories: dedicated to historical issues, to theoretical and style problems, and also to practical performance problems. Historical information is mentioned for the first time in the preface to the first edition of FVb, where the editors J. A. Fuller Maitland and W. Barclay Squire offered some assumptions about the origins of FVb and the personality of its copyist F. Tregian Jr. Till nowadays researchers are certain of the fact that the circumstances of his life influenced significantly the structure of FVb, its contents and even conception. The personality of F. Tregian and the circumstances of his work over FVb still inspire vivid interest of researchers from the moment of the first publication of the collection till nowadays. Here we have historical works: The book of E. Naylor, (1905); the articles of E. Cole (1952); A. Cuneo (1995); the dissertation of P. P. Jones (2009); and sharp polemic articles of R. R. Thomson (2001) and D. J. Smith (2002, 2004).
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The purpose of the study is to analyze the presence specifics of spiritual, religious, and ethno-national factors in the ideological content of the mental perspective, studying the issues of religious and aesthetic features of ethnic mentality, which influenced on the formation of the Cossack spiritual culture of the XVII-XVIII centuries. Methodology. The methodology of the research consists in the application of methods of analysis, synthesis, comparison, generalization, as well as in the use of ideological and content, terminological, historical and cultural approaches. This handmade it possible to reveal the peculiarities of the Cossack mentality which represents the characterological type of thinking and sensibility of the Cossacks, forming a unique integrity of the Cossack spiritual life in the cultural space of the XVII-XVIII centuries.
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In this work I present Leibniz’s views in the context of the dispute on the origins of language held in the 17th century and inspired if not yet by pure nationalism, then certainly by the argument about the priority of linguistic and cultural tradition. The Leibniz’s stand in the matter is not unequivocal. However, when comparing the philosopher’s marginal ideological statements, views expressed in his key texts concerning the theory of language, as well as the ones connected with the theory of cognition, we are lead to a conclusion that the philosopher has taken a different approach – not only as an ideologist defending Germany’s cultural heritage, but also as a thinker, theoretician and researcher of natural languages, proving the equality of their cognitive functions. The most interesting issue undertaken by the philosopher, is the problem of the status of language and its relation to thinking. In this context the futile argument about the priority of languages is replaced with a philosophical question, which remains significant to this day, about the human ability to create a language and its cognitive rank.
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During the seventeenth and eighteenth centuries within the walls of the University of Prague appeared about a hundred students from lands ad-ministratively under the Polish-Lithuanian Commonwealth. Some of their names are well-known, but the identities of others have not been recognised. The students came first of all from provinces geographically closer to Prague, i.e., Wielkopolska (30%) or Małopolska (6%). Further regions were represented as follows: Royal Prussia (23%), the Grand Duchy of Lith-uania (5%), Mazovia (7%), Rus (4%), Lublin Province (4%), Podlasie (2%), Sieradz Province (1%), Rawa Province (1%), Kujawy Province (1%). We are unable to determine the origin of 16% of students. The young men repre-sented the nobility (42%) and a slightly larger number came from the bour-geoisie (45%). The social origin of 13% of students is unknown. Among the students were such renowned historical figures like Michał Korybut Wiśniowiecki, Krzysztof Antoni Szembek or Hieronymus Roth.
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The Museum of Applied Arts has the richest collection of Haban ceramics of any public collection in Hungary. The museum preserves close to four hundred items of Haban ceramics made before 1760: vessels, stove tiles, a stove and floor tiles. The article presents the history of the collection with special regard to the aims of the collecting, the circumstances of acquisitions and the most important collectors. It cites the thought of Jenő Radisics, the director general who has made the greatest contribution to the museum, on collection building that can be regarded as the most up-to-date museum conception at the turn of the 19th to the 20th century, particularly because his ideas laid the foundations for the 21st century philosophy of museums. These Haban ceramics intended for the use of aristocrats also served as a material relic of the national consciousness of European nation-states.
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In the article, the P. Kulish’s thoughts about the fight in the XVI-XVII centuries of Ukrainian people against social and national oppression, and for the preservation of the Orthodox faith are considered. P. Kulish was fond of the events peasant and Cossack uprisings against the Polish magnate-gentry at the end of the XVI – first half of the XVII centuries and the liberation struggle of the Ukrainian people headed by Bohdan Khmelnytsky, Peter Doroshenko, Gajdamacks movements and etc. Studying the history of Ukrainian people and its sharp turns, P. Kulish expressed his opinion about the fight of Ukrainian people against social and national, religious oppression in the sixteenth and seventeenth centuries. Analyzing P. Kulish’s historical and literary works, we make the concludes that he was interested in the events of peasant and Cossack uprisings against the Polish gentry at the end of the XVI – at the beginning of the XVII centuries and the liberation struggle of the Ukrainian people headed by Bohdan Khmelnytsky, Peter Doroshenko, Gajdamacks movements and etc. Attracting the reader's attention to these events, P. Kulish, especially in the his youth, taking part in the Cyril and Methodius organization, intended to awake in the contemporaries interest to the history of his people by the heroic deeds of the grandfathers and great-grandfathers . He was proud of the Zaporozhye Cossacks struggle against social and national oppression. In the Cossack life, he saw the power of the Ukrainian people, their love of freedom and the pursuit of a happy life. The researcher tried to move those traditions in the present and to intensify them. This feature characterized Taras Shevchenko works. Praised him historical events and heroes of the past inspired to active fight against the landlords and autocracy and gifted the faith in themselves. Highlighting the struggle of the people masses against their oppressors in the past, P. Kulish emphasized the love of freedom of the Ukrainian people, its love for its homeland, the constant desire for freedom and a happy life, self-sacrifice and heroism in combat with the enemy. Analyzing peasant Cossack uprising in Ukraine at the end XVI – the beginning of the XVII, the Russian and Ukrainian noble historiography wanted to hide the truly reasons of them. Ignoring the social factors, they were usually eager to prove that the basis of these uprisings had been the Ukrainian nation fight against the forcible Polonizing and the desire of South Russ to become under the banner of the Russian Tsar. P. Kulish respected P. Konashevich Sagaydachny as a Cossack father, and as a shrewd diplomat in relations with Poland, and as a supporter of protectorate over Ukraine from Russia, and as loyal subjects of the Orthodox Church, and the organizer of Ukrainian people of Crimean Turkish aggression. The researcher appreciated P. Sagaidachny for his patriotism, sensitivity to the needs of its people. It seemed to him that in more favorable circumstances the hetman could solve the Ukrainian problem better than B. Khmelnitsky. So P. Kulish understood that the peasant and Cossack revolts were against feudal and aimed to defense the national dignity and maintain their own faith. According to P. Kulish, pious clergy, militant Orthodox Church inspired his supporters not to fear death and above all respect freedom. The main motives of future revolutionary events at the end of the XVI – the beginning of the XVII centuries were the Orthodox church, religious factors. During his life, P. Kulish changed his views on the role and place in the history of Ukrainian historical figures; the reasons which led to peasant-Cossack protests in Ukraine in the sixteenth-seventeenth centuries, including the Ukrainian National Revolution 1648-1676; the essence of historical relations between Ukraine, Poland and Russia etc.
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The birthplace of the Christmas tree is the territory of the Aleman people, thus the territories of Baden and Alsace along the upper part of the river Rhine. Its direct predecessors are the maypole trees during winter and Christmas time, thus the branches of pine trees with which the houses, economical and agricultural buildings, fences and wells along the upper Rhine were decorated inside and out during the midwinter festivities (Christmas, New Year etc). According to a medieval legal principle in upper Alsace, the peasants had the right to bring a cartful of wood (branches of pine trees in the first place) on Christmas Eve from the forest. Written legal principles and customs recording this habit can be found in many cities of upper Alsace: Sundhofen (around 1300), Bergheim (1369), Germar (14th century). The habit of decorating houses with evergreen branches at Christmas is in Strasbourg and Freiburg 500 years old. The cities of the Alsace region have guarded their forests in the days before the midwinter festivities against thieves. We know of a bill of a sum paid to the foresters guarding the forests at St. Thomas’s day (21st December) in Schlettstadt (1521). The judge of Sankt Pilt did put the forest of the city under heavy guard for nine days before and after Christmas, because of a legal principle of the upper Alsace (14th century). The cities and landowners tried to keep the number and size of the may-pole trees meant to be cut for Christmas via decrees at bay. Türkheim has in 1611 decreed that anyone who cuts out more than one tree for Christmas has to pay a fine. In a legal principle at Adolsheim (1431) the landowner has allowed the cutting of a 7 feet tall pine tree. The great size of the may-pole trees shows that they are no more branches to decorate a room or small trees hanging from the ceiling, but big Christmas trees standing in the house or in the open. In Strasbourg the sale of Christmas tree began in 1539. According to their accounts, the wealthy house of Sichenheim did pay for pine trees and branches. The cathedral of Strasbourg did have a standing Christmas tree in the same year. The manuscript A few sights from Strasbourg (1604 or 1605) describes many decorated Christmas trees in guild houses of artisans. The Christmas tree was also popular in Freiburg (14th century): The town council was forced to fine those who cut may-pole trees for Christmas illegally. In the town hospital to the Holy Spirit the bakers decorated a large Christmas tree, which remained untouched until New Year. Its edible decorations, cakes, fruits were distributed among the poor at the Christmas-tree festivities in the 17th–18th centuries. The accounts of the hospital show that between 1625 and 1773 they had always expenses for the decoration of the Christmas tree. The historical clues show us that the Christmas tree was a popular habit on both sides of the upper Rhine in the 16th century among the Protestants and the Catholic Christians as well.
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This paper provides an analysis of recent research and publications on the icon painting of Kiev-Pechersk Lavra of late XVII – early XIX centuries. Briefly reviewed publications of P. Zholtovskoho, P. Umantsev, L. Mylyaevoyi, O. Lopuhinoyi, O. Pitatelevoyi, A. Kondratyuk, Ya. Lytyvynenko, V. Shydenko, O. Sitkarovoyi, H. Byelikovoyi, L. Chlenovoyi, Yu. Korenyuka, O. Ryzhovoyi. It was found that the icon painting of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century, which largely remains in the territory and in the collection of the National Kyiv-Pechersk Historical and Cultural Preserve, may conditionally be divided into two groups. The first group includes icons from ensembles that have been preserved in situ in the Kiev- Pechersk Lavra. The iconostasis of the Trinity Gate Church (1734-1735 biennium) and the Church of All Saints (1741) on the Еconomic gate relates to the first half of the XVIII century. The complex of monuments of the second half of XVIII and beginning of XIX century iconostasis includes cave church (1760-1762 years) St. Theodosius of the Caves, four icons (1767-1769 years) of the iconostasis of the church of the Exaltation of the Holy Cross and Icon from its back side (1789 's), as well as icons of the iconostasis cave church of the Nativity (1802). During all the time the iconostasis ensemble of Kiev-Pechersk Lavra was considered outstanding monument of sacred art and served for visual patterns. In many ways, these iconswere "extremely important" in Kiev icon painting of their time. This branch – iconostasis icons of Kiev Pechersk Lavra – is the greatest in Lavra icon painting. The second group includes the icons that came to our century without their iconostasis but were titles especially for them – they are the icons of the end of XVII century (1691) from the iconostasis of the cave church of reverend Varlaam Pecherskiy (are kept in the church’s north wall) and the icons of XVII – XVIII centuries (1700) from church of Exhalation of the Holy Cross at Blizhni caves (are kept at fond of NKPIKZ), also the icons of the holiday row of the main iconostasis (1719 – 1729) and the iconostasis’ cartouches of the front narthex (1725 – 1729) of Uspenskiy cathedral (are kept at the NHMU collection). Surprisingly, there’s no general art historical research of such bright phenomenon as the icon painting of Kiev – Pechersk Lavra, time borders of which cover the end of XVII – beginning of XIX century. Already famous attractions are too scattered or fragmented and published intermittently. Art analysis is limited to the designation of certain icons belonging to a particular "manners." Therefore, this fact does not allow tracing the evolution of art forms. Therefore, the relevance of the study is to deepen scientific knowledge of icon-painting school of Kiev-Pechersk Lavra and do a thorough, art generalizations regarding one of the most important phenomena of Ukrainian iconography end of XVII – beginning of the XIX century, involving historical, archival and literary sources, iconographic material, factual study of the works. The purpose of the study is to trace and identify issues of formation and development of the Kiev-Pechersk school of icon painting and assembling special Lavra iconography. To achieve this goal it is necessary to perform the following tasks: process studies, which are devoted to the iconography of Kiev-Pechersk Lavra end of XVII – beginning of XIX century, to define the source base and terminology research, classify and to characterize the textual, visual and material sources, which are formed on the basis of style and iconography monuments and carry out thorough investigations of art and trace the formation and development of style and iconography, to track changes iconic traditions, to determine the characteristic stylistic and iconographic features icons created in icon painting workshops of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. The object of the research is the process of formation and development of the style and of iconography the icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. The subject of the study is, first and foremost, memo icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century, preserved in situ, as well as from museum collections NZSK, NKPIKZ, National Art Museum. Secondly, text, visual and material sources, formed the basis for the style and iconography in icon painting school of Kiev-Pechersk Lavra of the end of XVII – beginning of XIX century. Thus, gradually, along with the study of the works and primary sources, you can at least come close to being able to create a single research about the history of icon painting school of Kiev-Pechersk Lavraof the end of XVII – beginning of XIX century. The most comprehensive list of publications on the icon painting school of Kiev-Pechersk Lavra of XVII – beginning of XIX century is given in the "Вibliography".
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