The thesis work studies the gradual transformation of the Byzantine templon into a unique typical Ukrainian, at first a low, and later on, a high iconostasis. The origins of the Ukrainian iconostasis have been studied for almost a century now, however, the selected timeframe has been barely analyzed before, specifically, the formation of the iconostasis from its origins, id est, the gates in front of the altar, hasn’t been regarded in terms of the evolution process continuity. In Ukraine, in Kyiv Rus times the Byzantine columned screen separating the sanctuary from the nave was inherited in a form of a porch combining the columns, epistylium and a parapet, some of which were decorated with the holy gates. Іn situ, in Ukraine there are no preserved gates before the altar, only their fragments, and remains. In the thesis work an attempt has been made to connect the reconstruction of the gates before the altar with the preserved Kyiv icons of the ХІ–ХІІth centuries, as it would have given the templon a certain theological meaning.
The iconostasis is the center of religious ceremonial observance, liturgy and is of paramount importance in any Orthodox church. There’s no ХІV–ХVІ century iconostasis that has been preserved in situ, however, the remains of the lay bricks parts of the Volyn and Galychyna iconostasis are extant, signifying the iconostasis synchrony with the Greek and Balkanian ones. The most significant step in the iconostasis evolution has become the closure of the gates before the altar first open layer with the icons, transforming it into a continuous iconostasis wall. This has allowed to increase the number of the iconostasis first-level icons, significantly intensifying its theological meaning. On the territory of the former Kyiv Rus these changes have first taken place in the Ukrainian church of St. Johnsonian the Theologian in Lutzk and St. Nicholas church in Zbruchanskiy in the second half of the ХІІІ century. The thesis work traces the gradual genesis of the Ukrainian iconostasis since the Kyiv Rus times till ХVІth century and shows that this evolution has been a continuous process, as it had been based on the iconostasis heritage, structure of the gates before the altar, its separate elements, and the Kyiv Rus liturgy. The thesis work research has been complicated by the defective articles of the ХІV–ХVІ century icon-painting, preserved only in Volyn and Galychyna. The thesis work demonstrates that the iconographic origins of the Ukrainian iconostasis icons of the ХІV–ХVІ centuries take its roots from the art articles of the Kyiv Rus, such as the encolpium, small metal products, small carving and the gold-knitted “pocket” from Vienna, introduced into the scientific usage for the very first time. Kyiv Rus art, especially, Kyiv art has become a solid ground for the formation of the ХІV–ХVІ centuries iconostasis. Since Kyiv Rus times the Ukrainian iconostasis has preserved the “The Christ Pantocrator Teacher”, pictured to his full height, half-sculptural “The Christ Pantocrator”, “Christ Enthroned”, “The Holy Mother Oranta”, “The Enthroned Mother of God”, “The Virgin of Odygitria”, “The Virgin of Mercy” and other iconographic types. The composition and iconography of the Deesis tier have also been inherited from the Kyiv Rus art. It’s been the old-Kyiv heritage that has predetermined the Ukrainian iconostasis distinctive features, such as usage of the Deisis icons “Christ in Majesty” and “The Eulogy of the Most Holy Theotokos” (with Prophets), placing the “Holy Mandylion of Edessa” over the holy gates, finishing the iconostasis with the “Crucifixion with Bystanders” and specific order of the iconostasis layers. The author tried to reproduce the theological meaning of not only the particular icon types but also the Deesis tier and the iconostasis in general. This way an icon set has been restored as well as the general view of the iconostasis wall in the ХІV–ХV century churches. Thereby, the historical process of the iconostasis wall development in ХVІth century churches gains its distinct features and the evolution of the low iconostasis into a high one becomes more logical and convincing. In the course of time, depending on the historical situation and, subsequently, on the expansion of the certain theological ideas, the Ukrainian iconostasis has gained new features, although, unlike the other Orthosphere nations’ churches, its certain elements remained unaltered.
