Works of “The Author of the 1698 Sovereign Tier Icons of the Iconostasis From the Ustyianova Horishna Church” in the Context of the Activities of the Iconpainting Centre in Rybotychi
DOI:
https://doi.org/10.32461/2226-3209.2.2018.162702Keywords:
icon, iconostasis, late 17th-century icon painting center in Rybotychi, Ustyianova Horishna near Ustryky, the author’s manner of painting.Abstract
The purpose of the article is to study the painting manner of an anonymous author of the 1698 sovereign tier icons from the iconostasis of the St. Mother Paraskeva church in Ustyianova Horishna near Ustryky (the former Ustryky Deanery of the Peremyshl’ Diocese of the Eastern Rite Uniate Church) in the context of the activity of the icon painting centre in Rybotychi near Peremyshl’. These icons are stored at the Museum of Folk Architecture in Sanok, Poland. Methodology. Methods of the formal and iconographic analysis facilitate the study. Comparative analysis of the authors’ legacy allows us to state that the series of icons from other museum collections were painted by him as well. Scientific Novelty. The results of the research support the idea that icons of the iconostasis from Ustyianova Horishna church were painted by two masters. One author and Deesis tear icons painted the 1698 predella icon, and the icons of a Sovereign tier were painted by another one later on. Both of them belonged to the Rybotychi workshop. Thus, the Deesis icons are less professional. Studying the painting manner of the author of the 1698 icons we attributed some works from various museums collections to him. These works allow us to determine the probable period of masters’ activity in the 1690–1710's. Conclusions. We conclude that the author of the Sovereign tier icons from the iconostasis of the Ustyianova Horishna church was one of the most skilled among the masters of the icon painting center in Rybotychi. The icons connected with the master can be compared to the best works of the 17th- century Ukrainian icon painting, which refutes the widespread even in the professional publications idea that the icons of the Rybotychi masters, in general, were unprofessional. In the interpretation of the saints’ faces on the Sovereign tier of the Ustyianova Horishna icons, we see a reflection of the widespread among professional painters, in particular, of the Lviv and Zhovkva schools of the 17th century, Renaissance techniques with an attempt to create a perfectly beautifulimage.
References
Александрович В. С. Нові дані про риботицький малярський осередок другої половини XVII cт. / В. С. Александрович // Народна творчість та етнографія. – 1992. – №1. – С.59–63.
Голубець М. Б. Начерк історії українського мистецтва. Ч. 1. / М. Б. Голубець. – Львів: Накладом фон-ду "Учітеся брати мої", 1922. – 262с.
Драган М. Д. Українська декоративна різьба XV – XVIII століть / М. Д. Драган. – К. : Наукова думка, 1970.— 204с.
Жолтовський П. М. Український живопис XVII–XVIII cт. / П. М. Жолтовський. – К. : Наукова думка, 1978. – 117с.
Откович В. П. Коллекция икон рыботицких мастеров из ЛМУИ / В. П. Откович // Памятники культуры. Новые открытия. – Л. : Наука, 1985. – С.323–333.
Откович В. П. Народна течія в українському живопису XVII–XVIII ст. / В. П. Откович. – К. : Наукова думка, 1990. – 94с.
Откович В. П. Риботицький осередок ікономалювання / В. П. Откович // Zachodnioukraińska sztuka cerkiewna. Część II. Materiały z międzynarodowej konferencji naukowej Łańcut – Kotań 17–18 kwietnia 2004 roku. – Łańcut : Muzeum-Zamek w Łańcucie, 2004. – S.295–315.
Biskupski R. Inspiracje grafiką malarstwa ikonowego XVII i I połowy XVIII wieku / R. Biskupski // Materiały Muzeum budownictwa ludowego w Sanoku. – Sanok : Muzeum budownictwa ludowegow Sanoku, 1977. – Nr. 23. – S. 10–18.
Biskupski R. Sztuka Kościoła prawosławnego і unickiego na terenie diecezji przemyskiej w XVII i pierwszej połowie XVIII wieku / R. Biskupski // Polska – Ukraina 1000 lat sąsiedztwa. Studia z dziejów chrześcijaństwa na pograniczu kulturowym i etnicznym / pod. red. S. Stępnia. – Przemyśl : Południowo-wschodni instytut naukowy w Przemyślu, 1994. – T. 2. – S.351–370.
Ikona Karpacka. Album wystawy w Parku Etnograficznym w Sanoku / Тekst J. Czajkowski, R. Grządziela, А. Szczepkowski. – Sanok : Muzeum budownictwa ludowego, 1998. – 191s.
Janocha M. Ikony w Polsce. Od średniowiecza do współczesności / M. Janocha. – Warszawa: Arkady, 2008. – 451s.
Nowacka J. Malarski warsztat ikonowy w Rybotyczach / J. Nowacka // Polska sztuka ludowa. – Warszawa : Instytut Sztuki PAN, 1962. – № 1. – S.26–43.
Рижова О. Особливості іконографії зображень на іконах з успенського собору Києво-печерської свя-то-успенської лаври. Вісник Національної академії керівних кадрів культури і мистецтв. 2015. № 4. К.: Міленіум. С.82-88
Aleksandrovych, V. C. (1992). New Data About Iconpainting Center in Rybotychi in the Second Half of the 17th c. Narodna tvorchist' ta etnohrafiya, 1, 59–63 [In Ukrainian].
Holubec’, M. B. (1922). Sketch of the history of Ukrainian art. Part 1. Lviv: Nakladom fondu "Uchitesia braty moi" [In Ukrainian].
Drahan, M. D. (1970). Ukrainian decorative carving from the 17th – 18th centuries. Kyiv: Naukova Dumka [In Ukrainian].
Zholtovs'kyi, P. M. (1978). Ukrainian Painting of the 17th – 18thcc. Kyiv : Naukova dumka [In Ukrainian].
Otkovych, V. P. (1985). Icon Collection of Rybotychi Masters in LMUA. Pamyatniki kul'tury. Novyye otkrytiya. Leningrad: Nauka, 323–333 [In Russian].
Otkovych, V. P. (1990). Folk Course in Ukrainian Painting of the 17th – 18th cc. Kyiv: Naukova dumka [In Ukrainian].
Otkovych, V. P. (2004). Rybotychi Iconpainting Area. West Ukrainian Art of the Orthodox Church. Part II. Materials from the international scientific conference Łańcut – Kotań 17th – 18th April 2004. (pp. 295–315). Lancut: Muzeum-Zamek w Łańcucie [In Ukrainian].
Biskupski, R. (1977). Inspirations with Graphics of Iconpainting of the 17th–First Half of the 18th century // Materials Museum of folk architecture in Sanok. Sanok: Muzeum budownictwa ludowego w Sanoku, 23, 10–18 [In Polish].
Biskupski, R. (1994). Art of Ortodox and Uniate Churches in the Peremyshl Diocese in the 17th and First Half of the 18th cc. S. Stępen (Eds.), Studies on the history of Christianity on the cultural and ethnic border. Poland – Ukraine 1000 year of neighborhood. (Vol. 2, pp. 351–370). Przemyśl: Południowo-wschodni instytut naukowy w Przemyślu [In Polish].
Czajkowski, J. (1998). Carpathian icon. Sanok: Muzeum Budownictwa Ludowego w Sanoku [In Polish].
Janocha, M., & Dubiel, Z. (2010). Icons in Poland: From the Middle Ages to the Present. Warszawa: Wydawnictwo "Arkady" [In Polish].
Nowacka, J. (1962). Iconpainting School in Rybotyche. Polish Folk Art, 1, 26–43 [In Polish].
Ryzhova, O. (2015). Features of iconography of images on icons from the Assumption Cathedral of the Kiev-Pechersk holiday-Assumption Lavra. Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv Kyiv: Millennium 4, 82-88 [In Ukraine].
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
