Thesis for scientific degree of PhD in Art History, speciality 26.00.01 – Theory and History of Culture. Borys Grinchenko Kyiv University, Ministry of Education and Science of Ukraine; National Academy Managerial Staff of Culture and Arts, Ministry of Culture of Ukraine. Kyiv, 2017.
In the thesis the mural paintings of the Kyiv-Pechersk Lavra’s Dormition Cathedral and St. Sophia Cathedral as a phenomenon of artistic culture and a component of the renewal of the Kyiv Orthodox cathedrals under the cultural and historical conditions of Ukraine in the first half of XIX century has been comprehensively researched. Analysis and systematization of scientific publications of the XIX–XXI centuries found the limitations of the existing general historical approach, as well as the “author’s arbitrariness”, id est a cultural and historical phenomenon that consisted in duplicating the unreliable information, confusion in definitions and dates, incorrect archival references. On the factual basis, the myth of the low qualification of artists who renewed the paintings has been refuted, and a view on the process of painting decoration renewal of the specified the Dormition and St. Sophia Cathedrals has been re-conceptualized.
The factors that influenced the renewal of the Kyiv Orthodox cathedrals under the cultural and historical conditions of Ukraine in the first half of the XIX century have been determined. The conceptual triad “autocracy – Orthodoxy – nationality” which was put in the basis of the state ideological doctrine provided the assistance from the official authorities to the renewal of Orthodox cathedrals. Kyiv in the cultural system of the then society was considered a sacred city and was the centre of pilgrimage. Therefore, the charitable movement contributed to the renewal of the painting decoration of Kyiv cathedrals. 1800–1850s were a period of active urban development in Ukraine, the renewal of cathedrals took place in the context of the development of Kyiv. Stylistic features of the architectural and artistic decision of the cathedrals were regulated by imperial legislation and state bodies. The mural painting renewal in the Dormition and St. Sophia Cathedrals was influenced by the revival of the Lavra’s painting school in 1840–1850s.
The cultural and historical connection of works on the renewal of the Dormition Cathedral and St. Sophia Cathedral has been observed. It took place under the control of Kyiv metropolitans: a program of new paintings, current decisions were agreed upon with them, artists and craftsmen were involved under their approval. The painting works were often performed by the same artists, including the Lavra’s novices and monks. The succession in composite principles, topical and plot lines of the painting decoration in the cathedrals in 1830–1850s has been studied. Renewal of the cathedrals in 1840–1850s had a general cultural significance.
The names of artists and craftsmen, who performed the renewal of the mural painting decoration in the Dormition and St. Sophia Cathedrals, have been introduced into scientific circulation. In 1840–1843s under the supervision of Irynarkh 48 artists and 26 craftsmen worked in the Dormition Cathedral, and in 1848–1849s there were 38 craftsmen. St. Sophia Cathedral was renewed by Irynarkh with 58 artists in 1850–1852s, and by I. Zheltonozhsky with 27 artists and craftsmen in 1852–1853s. A large number of artists and craftsmen reflected the magnitude of the work performed.
The content of the terms of the renewed and renovated mural painting composition has been formulated. The renewed composition of mural painting is an image which was drawn anew. The renovated composition of mural painting is an image with which the works of a restoration character have been performed. The author of the renewed composition is the artist, who draws it anew; it is dated by the time of execution. The renovated composition is attributed by its primary origin: the author is an artist who painted it (but not renovated), the dating is a time of creation (but not of renovation). Thanks to the content of these terms, there is a direct link between the type of work (renewal or renovation) and the authorship and dating of the images. Types of work performed are a criterion for conducting the attribution of paintings, establishing the author and the time of creation.
The method for the attribution of mural painting compositions has been formulated and applied. Authorship and dating of mural painting compositions are determined by the criterion, which is by the type of work performed by artists and craftsmen. Types of work are clarified in the process of comprehensive analysis of archival sources, publications, restoration reports, and other documentary evidence.
