Iconostasis icons of the Pechersk Lavra Far-Cave St Theodosy Church: the features of painting, inscriptions and speci? cation of attribution
The paper presents art analysis of the iconostasis icons of the Pechersk Lavra Far-Cave St Theodosy Church. Now there are twenty-seven icons in the iconostasis. Based on the results of the complex visual, optical, technical and technological search, we may declare that all the iconostasis icons have an authentic look. The Archangel Michael’s image only is under the later painting of 1834-1836. In the six icons of the top row: “Christ the Almighty”, “The Virgin and Child”, “St. Antony of Pechersk”, “St Theodosy of Pechersk”, “Archangel Michael” and “St Ignatius of Pechersk” the painter used traditional and simple compositional scheme where the full-length and front view figures were depicted against smooth golden background. Each of the lower row six icons is associated with the icon from the top row with a certain content thanks to the inscription located above. Twelve icons from the festival row correspond with twelve church calendar feasts - “The Nativity of the Virgin Mary”, “The Presentation of the Virgin Mary in the Temple”, “The Nativity of Christ”, “The Epiphany”, “The Candlemas day”, “The Annunciation”, “The Entry to Jerusalem”, “The Resurrection of Christ”, “The Ascension”, “The Descent of the Holy Spirit upon the Apostles”, “The Transfiguration” and “ The Dormition of the Mother of God”. The “Images of the Apostles” (on the left), “Christ with the Mother of God and St John the Baptist” (in the center) and “Images of the Holy Prophets” (on the right) are depicted at the top of the iconostasis. There are images of Evangelists in the Holy Door medallions: “The Holy Apostle and Evangelist Matthew”, “The Holy Apostle and Evangelist John the Theologian”, “The Holy Apostle and Evangelist Mark” and “The Holy Apostle and Evangelist Luke”. Style and technique of the Lavra icon painting school on the metal, which we can follow from the late 17th century, haven’t been significantly changed: copper, gilded iconostasis “wall” decorated with embossing, shines like a precious frame. However, the elegant Renaissance and lush Baroque ornamentation was replaced with simple smooth background profiled frames and columns adorned with thin shoots of acanthus combined with four-petal rosettes. The iconography of the images is typical for the Lavra: ascetic images that have been still painted from the “Greek specimens”. The “pictorial” tradition seen in the modelling of the icon images of the cave temple iconostasis of the late 17th century can be traced in the icons from the top row during the 18th century. The images in the medallions of the Holy Door have been changed: the influence of academic trend is seen. The Apostles’ images are depicted according to the rules of religious painting. Review of the characteristics of the icons, such as composition and iconography suggests that “conservative” painting tradition was kept mostly in the images of Patron row (the Savior and Virgin in particular). New artistic trends are detected in the icons of the lower and top rows of the Holy Door medallions: the influence of secular painting can be seen there. The investigation helped to clarify dating of the iconostasis as well as the names of definite icons. Previously its icons were dated back to the 19th century, now it is possible to date them 1760-1762 years. Also the following icons of the lower row had incorrect names: thus, the icon “The Meeting of Antony with Theodosius” (earlier) is called: “The power that was given to the Saint by the Savior to cast out demons”; the icon “The Fiery Snake” is titled “Attack of the viper and Basilisk and throwing them down”; “The Intercession of the Holy Virgin” is named “The Virgin - Joy of all who Sorrow”; the icon “Healing of Theodosy” is named “St Theodosy of Pechersk, who teaches His adherents before leaving this life”, the icon “The homilies of Theodosy to His adherents” is named “The power given by the Savior to heal the sick” and the icon “Theodosy of Pechersk” is named “Monk’s funeral in the presence of St Antony of Pechersk”. Objectives. The objectives of this search are iconostasis icons of the Kyiv-Pechersk Lavra Far-Cave St Theodosy Church. Method of comparison. Analysis of the means of artistic expression of the iconostasis icons, namely, composition, style and iconography, which allows to notice the signs of the new artistic tradition that was developed in Kyiv iconography in the 18th century along with the traditional icon. Result. As a result of the in situ and bibliographic studies the authentic painting of the iconostasis icons has been identified: namely subjects and names of the icons and characteristics of the images, read the legends and clarify their attribution. Conclusions. It is proved that the iconostasis dates its back to 1760-1762. Its icon painting must also be dated to the same years, except the “Archangel Michael” icon image, which is under the painting of 1843-1836. Review of the characteristics of the icons, such as composition and iconography suggests that “conservative” painting tradition has been kept mostly in the images of the Patron row (the Savior and Virgin in particular). New trends are detected in the icon painting in the low and top rows of the Holy Doors medallions: the trend of secular painting influence can be traced there.