The thesis is devoted to professional Ukrainian iconography created in the territory of Left-bank Ukraine and Kyiv Region during the second half of the 17th - first half of the 18th centuries. The purpose of the work is to reveal new information and systematise the already-existing information about the material structure of iconography, ways of creating an image, the sequence of applying paint layers, as well as common types of damage and restoration techniques.
The research methodology included direct visual examination of the works with the naked eye and with the use of a portable USB microscope, as well as examination and photography under ultraviolet and infrared rays. The information obtained was compared with data from published and archival sources. In addition, comparative analysis methods were used to establish foreign influences on technical and technological levels.
The core of the source base are icons from the collection of the National Art Museum of Ukraine, from the iconostasis of the Church of the Savior Transfiguration in the village of VelykiSorochyntsi, Trinity Gate Church of the Kiev-PecherskLavra, St. Sophia Cathedral in Kyiv, the icon of Our Lady of Yelets stored in the Holy Dormition Yelets Monastery in Chernihiv, icons from the collection of National Architectural and Historical Reserve "Ancient Chernihiv" and others. Among archival materials - passports of restoration of works of iconography stored in the National Art Museum of Ukraine, the National Scientific and Research Restoration Centre of Ukraine, the National Academy of Fine Arts and Architecture.
The scientific novelty is that for the first time the material structure and technique of iconography in Left-bank Ukraine and Kyiv Region in the second half of the 17th - first half of the 18th centuries is at the centre of special research. A number of options for the creation of picturesque images are revealed, and chronological limits are established on the application of certain materials, methods of painting and decoration on icons of the specified region and period. For the first time, a number of archival sources have been introduced into scientific circles, which contain information about the physico-chemical studies of icons and the process of their restoration. Information concerning the pigment composition of the painting has been supplemented and generalised. The peculiarities of the structure of the Left-bank icons are specified, such as: materials, configuration, shape, thickness, method of processing the bases, type of canvas and its localisation, composition, thickness and processing of the primer layer; the tools used for processing the bases and creating relief patterns on the primer surface have been specified. The methods and materials used for the restoration of the icons in Left-bank Ukraine have been analysed. Further development was achieved through research into the state of preservation of the iconographic heritage of Ukraine and its correlation with restoration interventions in the past, as well as analysis of the consequences of these interventions for visual perception of works by the audience and the availability of authentic pieces for further research.
The thesis consists of an introduction, four chapters with conclusions to each, general conclusions, a list of references and appendices with illustrations.
The first chapter is devoted to historiography, the basic methodological principles of the study, listing of references and clarification of the meanings of special terms.
The second section considers the structure of the icons in Left-bank Ukraine and Kyiv Region in the second half of the 17th - first half of the 18th centuries in layers. The materials and tools which were used to prepare the bases and refine the primer have been clarified: varieties of bases and their distribution in the Left Bank, types and peculiarities of canvas application, composition of the primer, paint and coating layers; the list of pigments used by Ukrainian icon painters has been specified.
The third chapter is devoted to the execution of the image on the primer surface: the application of a preparatory drawing and the processes of working with paints. Materials and methods of drawing are considered, the main options for creating a paint layer are identified, and the signs of the influence of painting techniques of Western and Eastern Europe on Ukrainian iconography are clarified. The meaning, role and methods of gilding are clarified.
The fourth section analyses the main methods of preservation, disclosure and aesthetic reintegration, which were applied to the iconography of the period at different historical stages. The importance of preserving of all the structural elements of the icon, which reveal the technology of its creation, is emphasised.
Keywords: Ukrainian iconography, Baroque, technique, technology, incarnat, gilding, pigments, binder, restoration of iconography, Left-bank Ukraine.
