RESEARCH OF MONUMENTS OF XVIII CENTURY WITH THE PLOT "BALIKIN ICON OF THE MOTHER OF GOD" FROM THE COLLECTION NKPIKZ AND NHMU
DOI:
https://doi.org/10.32461/149878Keywords:
Key words, Balykin Icon of the Mother of God", iconography, icon painting, Kiev, Chernigov, Kiev Pechersk Lavra.Abstract
The purpose of the article is to explore the hull of monuments of the XVIII century with a rare iconographic plot "Balykin Icon of the Mother of God" in the collections of the National Kiev Pechersk Historical and Cultural Reserve and the National Art Museum of Ukraine. The methodology of the research is based on the principles of system art analysis. Scientific novelty is to demonstrate the scientific circulation of the monuments of the XVIII century with a rare plot "Balykin's Icon of the Mother of God," as well as to clarify their attribution and identify the features of iconography images. Conclusions. According to the results of complex studies of monuments with the plot of the "Balykin Icon of the Mother of God" from the collections of the NKPIKZ: the icon KPL G 948, the shroud sewn with the picturesque inserts KPL T 1085 and the icon of 1769 (and 495) from the collection of NNMU, a hull of a few monuments with rare iconography is introduced into the scientific circulation. It is proved that the icon of 1769 (and 495) from the collection of the National Art Museum can be regarded as an exact copy of the list, made with preservation of technology, style, and iconography of the revered prototype. A shroud with picturesque inserts KPL T 1085 from the funds of NKPIKZ can be defined as air "The Virgin with the Child (in the iconographic type "Balykynskaya") surrounded by cherubs." Considering the stylistic proximity to the monuments of the XVIII century to Chernigov region, it is possible to assume Chernigov or female monasteries of the Chernigov diocese as a place of creation and origin. In the icon KPL G 948 (NKPIKZ), due to the introduction of iconographic elements from the icons of the Passion Cycle (the gesture of the raised hands of the Virgin) and from the arsenal of medieval European painters (the Christ Child lying on white cloths, an apple in His hand) in the composition "Balykin Icon of the Mother of God" an additional general symbolism of the image (the symbolism of the redeeming Sacrifice of the Savior) is revealed.
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