The scientific work contains the results of complex research of the icon painting monuments of the end of the 17th to 18th cc. from the museum collections of the National Kyiv-Pechersk Historical Cultural Preserve (NKPHCP), the National Sanctuary “Sophia of Kyiv” (NSSK) and the National Art Museum of Ukraine (NAMU). Icons and iconostasis complexes in situ, which have the status of reference,
i.e. fixed Kyiv origin, date, containing signatures or inscriptions indicating either authorship or origin, were selected for study and analysis. The work uses a comprehensive approach, which is the first prerequisite for the most objective research. It made it possible to comprehend a certain interdisciplinarity in the application of historical, art history, cultural, theological and technical-technological approaches. Within the framework of the complex scientific research, the art history and culturological study of the monuments was carried out, their characteristic artistic features and iconographic features were revealed; the connection of the images with the basic theological dogmas were traced. The material structure of the icons was considered and the main technical and technological
parameters were determined, which contain information about the base (wood, metal, canvas), the composition of the soil and pigments that are inherent in the monuments of this group. New monuments and new information on the history of icon painting and artistic culture of Kyiv of the Baroque period were introduced into scientific circulation, attribution and dating of previously studied monuments were specified. In general, the study of icon painting in the artistic culture of Kiev in the late XVII-XVIII centuries showed that the environment where the monuments were created was determined by theologians and artists of the Kiev-Pechersk Lavra; there, in the bosom of the Pechersk Monastery, ideal things were born - icons and iconostasis, which later became examples for the workshops of Kiev and regional art centers of the Left Bank of Ukraine. It is proved that the considered monuments
reflect the aesthetics and worldview of that time in the categories "beautiful and good as a gift of God". The source of life and the giver of all blessings - Christ, is represented mainly in the iconographic type of Christ the Bishop (High Priest, the first and main Executor of the Liturgy) or the King of Kings (Lord of the world); together with Christ, the Son of God, one of the main semantic and artistic images is the image of the Trinity of the New Testament (Father, and Son, and Holy Spirit). One of the leitmotifs in the artistic culture and artistic monuments of this day is the theme of the healing of the spiritual and the corporeal "according to the grace given
by God" (1 Cor. 3:10); the idea of a "single Holy Conciliar and Apostolic Church" is consistently and clearly developed and revealed by artists in Conciliar compositions. The publication is intended for specialists in culturology, theory and history of fine and decorative arts, restoration.
