Причини зміни стилю розпису православних храмів Сходу України на межі ХХ–ХХІ століть
Loading...
Date
2022
Authors
Хлистун, Юлія
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
У статті проаналізовано причини зміни стилістики розпису православних храмів Сходу України на межі століть і в перші десятиліття XXI ст. Православні храми на Сході України, побудовані (або відновлені) після здобуття незалежності, розписано або в стилі академічного живопису, або у візантійському стилі. Стиль академічного живопису більше притаманний храмам, розписаним у 90-х роках ХХ ст. – на початку XXI ст., а в останні два десятиліття замовники й іконописці віддають перевагу візантійському стилю живопису. Тому правомірним є питання: внаслідок чого виникла така тенденція? З позиції культурології у статті розглянуто комплекс чинників та обставин, які в той час впливали на монументальний церковний живопис. На відміну від стилю академічного живопису, візантійський стиль розпису дає змогу передати через видимі образи невидиме, духовне, містичне, спіритуальне, те, що було предметом пошуку в аналізований історичний період.
Orthodox churches in the east of Ukraine, built (or restored) during the period of the state independence, are painted either in the style of academic painting or in the Byzantine style. Moreover, the style of academic painting is more typical of temples painted in the 1990s and the early 21st century; and in the last two decades, the customers and icon painters prefer the Byzantine style of painting. Answering the questions related to the reasons for changing the style of painting of Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries, the author offers her point of view from the standpoint of culturology. In contrast to the style of academic painting, the Byzantine style of painting conveys through visible images the invisible, spiritual, mystical, spiritual, which was the subject of search in the analyzed historical period. The author of the article analyzes the processes taking place in the religious culture and art of our state after gaining independence and comes to the following conclusions. There are several main reasons for the change in the style of painting Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries: the search for national identity as one of the important and defining processes in the culture of Ukraine, which is relevant for all regions of Ukraine (both for the West and for the East); the perception of Kyivan Rus as the main (in historical retrospect) monument in the history of Ukrainian statehood (the time of Rus, of course, is associated with the Byzantine style of temple painting); the spread of icon-painting schools and the increased interest in canonical (Byzantine) iconpainting; the desire to adhere to the ancient Byzantine statutes in monastic life; the development of religious tourism and exchange of experience between masters. The prospect of further research on this topic can be considered the study of regional features of church painting, creativity, and various components of the work of individual Ukrainian artists, including icon painters.
Orthodox churches in the east of Ukraine, built (or restored) during the period of the state independence, are painted either in the style of academic painting or in the Byzantine style. Moreover, the style of academic painting is more typical of temples painted in the 1990s and the early 21st century; and in the last two decades, the customers and icon painters prefer the Byzantine style of painting. Answering the questions related to the reasons for changing the style of painting of Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries, the author offers her point of view from the standpoint of culturology. In contrast to the style of academic painting, the Byzantine style of painting conveys through visible images the invisible, spiritual, mystical, spiritual, which was the subject of search in the analyzed historical period. The author of the article analyzes the processes taking place in the religious culture and art of our state after gaining independence and comes to the following conclusions. There are several main reasons for the change in the style of painting Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries: the search for national identity as one of the important and defining processes in the culture of Ukraine, which is relevant for all regions of Ukraine (both for the West and for the East); the perception of Kyivan Rus as the main (in historical retrospect) monument in the history of Ukrainian statehood (the time of Rus, of course, is associated with the Byzantine style of temple painting); the spread of icon-painting schools and the increased interest in canonical (Byzantine) iconpainting; the desire to adhere to the ancient Byzantine statutes in monastic life; the development of religious tourism and exchange of experience between masters. The prospect of further research on this topic can be considered the study of regional features of church painting, creativity, and various components of the work of individual Ukrainian artists, including icon painters.
Description
Keywords
церковний живопис, розпис православного храму, стиль академічного живопису, візантійський стиль, іконописні традиції, національно-культурна ідентичність, стаття, painting of orthodox church, church art, style of academic painting, Byzantine style, icon painting traditions, monumental church painting, national identity
Citation
Хлистун Ю. Причини зміни стилю розпису православних храмів Сходу України на межі XX-XXI століть / Юлія Хлистун // Наукові записки НаУКМА. Історія і теорія культури. - 2022. - Т. 5. - С. 38-46. - https://doi.org/10.18523/2617-8907.2022.5.38-46