Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv:
Риботицький осередок церковного мистецтва: 1670-1760-х років
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Ukrainian English |
| Veröffentlicht: |
Lʹvov
Nacionalʹnyj muzej u Lʹvovi imeni Andreja Šeptycʹkoho
2019
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 527 Seiten |
| ISBN: | 9786177124107 |
Internformat
MARC
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Datensatz im Suchindex
| _version_ | 1804180060573270016 |
|---|---|
| adam_text | Зміст Передмова 9 Іконографія Богородиці 205 Вступ 11 Образи Бога Отця і Пресвятої Трійці 235 Історичні умови розвитку осередку церковного мистецтва в Риботичах 21 Особливості іконографії святих 243 Імена риботицьких майстрів за пом яниками, судовими справами, міськими реєстрами XVII-XVIII століть
39 Іконографія євангельських сцен 305 Риботицькі майстри за підписами на іконах 47 Художні особливості малярства та декоративної різьби творів риботицьких майстрів 1670-1710-х років 347 «Риботицька робота» за документами церковних візитацій Перемиської єпархії XVIII століття 59 Художнє виконання
творів і авторські манери риботицьких майстрів 1720-1760-хроків 437 Структура та програма іконостасів і пристінних вівтарів 71 Висновки 503 Дарохранильниці та ікони з жертовників 123 Список рукописних і друкованих джерел та літератури 507 Церковні хоругви 139 Список скорочень 516 Двобічні ікони 151
Покажчик місцевостей походження творів риботицьких майстрів 517 Процесійні та напрестольні хрести, свічники і патериці 165 Перелік майстрів церковного мистецтва з Риботичів 1580-1730-х років 525 Образ Христа 187 Summary 526
Summary The book studies a large centre of church art in the town of Rybotychi close to Peremyshl in the ethnographic territory of Nadsiannia (now — Poland), where artists were actively working over the period of 1670-1760. Church art within Ry botychi stylistics are still available in situ or come from the churches in the Western part of the Boyko region, as well as the Lemko region, Nadsiannia, Opillia, and Zakarpattia areas. At that time the churches of those areas belonged to the Pere myshl and Mukachevo eparchies of the Ukrainian (then called Rus’ka) Church. There are few icons of Rybotychi stylistics known from the churches of the then-Lviv diocese. Within a large group of stylistically similar icons of the 1670-1760 era, kept in the museums of Ukraine, Slovakia, Po land, Hungary as well as in the churches and private collec tions associated with the Rybotychi workshop, some differ ences can be traced both in the manner of painting and the level of mastery. It is more difficult to trace the connection to the Rybotychi centre in the monuments of the period of 1660-1680, since they, though possessing some features of Rybotychi artists’ manner, still have to be clearly authenticated. This is caused by the fact that senior Rybotychi artists Tymotey and Yakiv, whose signatures can be found on the icons, painted in a different manner. Approximately from 1680 and up till the 1760ies the works referred by us to the Rybotychi cen tre acquired clearly expressed common techniques in terms of iconography and stylistics. It is obvious that it is this wide range of works that
were described in the 1740-1770 church inventories of the Peremyshl diocese as the Rybotychi work”. Development of the icon painting centre in Rybotychi was fostered by the active surrounding monasteries founded during the Principality epoch in Posada Rybotycka and Lavriv, later (in the 17th c.) in Dobromyl. In Posada Rybotycka and in Rybotychi itself from the mid-16th c., and, probably, even earlier (a fact partially confirmed by the fragments of the Prologue sheets of the late 13th c. from a monastery church), books were re-written and illuminated. The 16th c. manuscripts with miniatures done by the Rybotychi authors confirm the local tradition of re-writing and illuminating books. Gospel miniatures of the late 16th c., re-written by priest Andrey from Rybotychi, point to common painting techniques with a large group of icons done by anonymous artists of one centre who worked in the same region in the late 16th — early 17th c. They are known in literature as the circle of the author of the Transfiguration icon from Yabluniv”. From an archival mention of 1617 we come to know about Rybotychi icon painter Yakiv. That proves that artistic activity in Rybotychi dates farther back than the 1670ies — the period the signed works are dated. From archival sources and signatures on the icons we know of sixteen painters and five carving artists who worked in Rybotychi in the period of 1660-1730. By the surnames 526 of painters from Rybotychi we can see that the work of Ry botychi artists was organized as family workshops. That is also confirmed by the unique inscription on the
icons of the Apostles of 1673, painted by Tymotey from Rybotychi togeth er with his brother-in-law. Unfortunately, very few signed works created by Rybo tychi artists have survived till present. On the icons painted in Rybotychi stylistics the signatures of four authors have been found. It was painter Yakiv who worked in the period of 1670-1690. Painter Tymotey was one of the oldest artists of that centre, known to us, whose icons can be identified. He worked in the 1670ies, though he might have started his activ ity back in mid-17th c., a fact which is proved by the painting stylistics of the works signed by the author. On the icons of the sovereign tier of the iconostasis in the church in Czertez painter Ivan Krulytskyi from Rybotychi left his signature and the date — 1701. ‘The youngest’ artist of this centre, judg ing by the signatures on the icons, was Ivan Seredyskyi who worked in the 1720ies. The works by Rybotychi artists listed by names differ rather significantly by their manner of paint ing, showing the evolution of special artistic features of the centre. Only in the works by I. Krulytskyi and I. Seredyskyi the painting techniques that are generally considered to be the Rybotychi ones can be traced. The names of artists written on the icons rarely coincide with the mention of them in archival documents. That is why the author’s style is not known for the majority of icon painters whose names can be found only in the materials of the archives. Only one of them — Fedir Khronovyat’s style — was identified on the basis of a surviving icon, whose contract for
commission was found in a court case. On the basis of archival sources and not quite clear inscription on the icon, the style of the painter from Rybotychi — Yakiv Sviderchak has been identified. The masters from Rybotychi could comprehensively fur nish a church following rite requirements. First of all, they built iconostases. Iconostasis ensembles created by Rybotychi artists were five-tiered, as was the tradition for most iconos tases of the 17th c. Ukrainian churches. Rybotychi artists did not introduce any additional tiers or images on the frame to the iconostatis program, the way this was commonly prac ticed in the 17th — in the early 18th c. by Lviv and Zhovkva artists. Still, artists from Rybotychi painted predella icons with figurative images, thematically connected to sovereign ones. The ciboria done by Rybotychi artists were wall-like, and this structure was inspired by the tabernacles of Roman Catholic cathedrals. Such form of ciboria was new for the churches of the Peremyshl Eparchy of that period. Rybotychi artists began working on wall altars in a nave, near which masses could be served, rather late — in the period of 1720-1750. Together with the iconostatis and ciborium, having the artistic language
of painting and the decorative frame in common, Rybotychi artists could also paint icons for the prothesis. The artists from Rybotychi practiced icon painting on can vas. In that technique they could do the upper tiers of iconos tasis, large-format icons of The Passion of Christ and The Last Judgment, and church banners. Rybotychi artists made proces sion and altar crosses, candeliers and double-sided icons, they could illuminate manuscripts, but, as the surviving works show, practically did not deal much with wall painting. Also, not a single shroud painted by Rybotychi artists has been found. The iconography of the Rybotychi artists was mainly pre-determined by the designation of the works in the church. These were icons from the iconostasis program. In the sov ereign tier icons of the Virgin — both Hodegetria and Eleusa — there prevails the image of the Mother of God — The Unfading Bloom. In the Eleusa iconography which was par ticularly respected by Rybotychi artists we can see the drawing elements of the miracle-working icons of the Virgin Lopyanska, Verkhratska and Sambirska. We connect the following mira cle-working icons with the Rybotychi authors: the Blessed Vir gin Liska (1680-1690], the Blessed Virgin of Kalvaria Paslavska (the 1680ies) and the Holy Virgin in the church in Shashova (1680-1690). In the images of apostles of the prayer tier in the works by the Rybotychi masters some elements of Western European iconography, such as depicting the Evangelist John in his youth, can be traced. The attributes, tools or details of the death of apostles, which
were often depicted by Rybotychi artists, were also borrowed from Roman Catholic art styles. In the central icon of the prayer tier starting in the 1680ies the Rybotychi artists depicted Christ as the Great Hierarch. Hence, this iconography became popular with them sooner than in the iconostases of Lviv, Zhovka and other Ukrainian artists. Rybotychi artists worked in the period of a complex church situation in the Peremyshl Eparchy. Until official union acceptance which occurred there in 1691, there was double-rule in the diocese, where de iure it was ruled by the Orthodox and Union bishops. If we refer to Rybotychi artists iconography, we can see that they actively promoted the imag es of St. Anthony and Theodosius of Pechersk, stressing their belonging to the Kyivan tradition of Christianity. The monas tery environment urged Rybotychi artists to develop in their works the iconography of St. Onufriy as well as little-known in the Ukrainian icons of that time saint hermits Symeon Stovpnyk (The Stylitos) and Sava Osviachenyi. Rybotychi art ists were the first among Ukrainian icon painters to start pop ularizing St. Ivan of Suchava soon after his relics were moved from Suchava to Zhovkva. In the icons of Rybotychi artists there can also be found symbolic images that were significant ly developed and popular in the baroque period. The compo sition Christ in the Chalice and Christ — the Vine” having Eucharist meaning, were represented in the icons placed in the sanctuary. The image of Pieta was also particularly pop ular in the icons that belonged either to the
cyboria or to the prothesis. No less recognized were the images of the Virgin — the Mother of Mercy ( of All the Needy ), the Protection of the Holy Virgin with Andrew the fool-for-Christ and the Synaxis of the Archangel Michael. Among Gospel scenes (besides icons from the feast tier of the iconostasis) Rybotychi artists paid attention to the topic of the Nativity of Christ in different ver sions, in particular, with an expanded story of the events from His childhood, with no analogues in the Ukrainian art. The evolution of the painting manner of the Rybotychi artists over the period 1670-1760 has been traced. The signed works of specific authors served as the grounds for their attributions. The icons of Rybotychi artists Tymotey, Yakiv, Ivan Krulytskyi, Ivan Seredyskyi have been studied in this way. The works by artists whose names have not been known, were identified on the basis of their painting style. Thus, works by 25 different authors who worked approx imately from 1670 to the 1760ies in common iconography and stylistics techniques characterizing the manner of the artists of that centre have been differentiated. On the basis of a comprehensive study of the works by Rybotychi artists of the 1670-1760 era we can refute the idea that Rybotychi painting was naïve and primitive. With in the works of this large stylistic group different author’s styles are distinguished, and some monuments are painted on a high professional level, while in others we can trace naïve performance, the figures are characteristically deformed and improportionate, details are depicted
schematically, inscrip tions are not calligraphic. It has been clarified that the works performed at the highest professional level were done within the period of 1680-1730. In 1740-1760 the professional level of the icons declined, this fact testifying to the decay of the Rybotychi centre. Its painters, using traditional iconography, structure and range of topics for iconostasis, failed to adjust to new requirements dictated primarily by the church author ities. This, in our opinion, caused the centre’s decay. Together with those artists a whole direction of symbolic icon painting, based on the tradition of the previous centuries disappeared, since, as the works show, in the second half of the 18th c. in the territory of the Lemko region there appeared icons and iconostases performed in a more realistic manner, imitating Western European styles of rococo or classicism. Rybotychi artists worked in the period when a change of aesthetic categories was taking place in church art. The active period of work of those artists coincided with the period of baroque style domination. If we follow the chronology of de velopment of the artist centre in Rybotychi, we will see that they adjusted to the new demands very quickly. Older artists ofthat centre worked in reliance on the aesthetic categories of the first half — mid-17th c. In the 1680ies we can trace mannerist trends in decoration and the interpretation of fig ures. In the 18th c. Rybotychi artists successfully reacted to baroque style trends. Colourful decorative iconostases of the Rybotychi artists created in the ensemble
with other elements of the church decoration quickly gained popularity among the believers of the Peremyshl and Mukachevo dioceses. Contemplating the role and scope of activity of the Rybo tychi artists, we may state that their work was important not just for that region. They were creating in the larger context of Ukrainian art and presented one of the local directions of its development. The work of Rybotychi artists should be consid ered at the same level as the activity of Kyiv Lavra icon paint ing workshop, Zhovkva, Volyn (Ostroh) and other art centres of the 17th-18th c. 527
|
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| author | Kosiv, Roksolana Romanivna 1973- |
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| geographic | Rybotycze (DE-588)1205555285 gnd |
| geographic_facet | Rybotycze |
| id | DE-604.BV045898607 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T08:29:45Z |
| institution | BVB |
| institution_GND | (DE-588)10169790-9 |
| isbn | 9786177124107 |
| language | Ukrainian English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031281480 |
| oclc_num | 1103505997 |
| open_access_boolean | |
| owner | DE-255 DE-12 |
| owner_facet | DE-255 DE-12 |
| physical | 527 Seiten |
| psigel | BSB_NED_20200228 |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Nacionalʹnyj muzej u Lʹvovi imeni Andreja Šeptycʹkoho |
| record_format | marc |
| spelling | 880-01 Kosiv, Roksolana Romanivna 1973- Verfasser (DE-588)143979566 aut 880-02 Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv Roksolana Kosiv 880-03 Lʹvov Nacionalʹnyj muzej u Lʹvovi imeni Andreja Šeptycʹkoho 2019 527 Seiten txt rdacontent sti rdacontent n rdamedia nc rdacarrier Text ukrainisch, Zusammenfassung englisch Schrift kyrillisch Geschichte 1670-1760 gnd rswk-swf Ikonenmalerei (DE-588)4161248-6 gnd rswk-swf Rybotycze (DE-588)1205555285 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Rybotycze (DE-588)1205555285 g Ikonenmalerei (DE-588)4161248-6 s Geschichte 1670-1760 z DE-604 Nacionalʹnyj Muzej (Lʹvov) (DE-588)10169790-9 isb Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031281480&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031281480&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract 100-01/(N Косів, Роксолана Романівна ut 245-02/(N Риботицький осередок церковного мистецтва: 1670-1760-х років Роксолана Косів 264-03/(N Львов Національний музей у Львові імені Андрея Шептицького 2019 |
| spellingShingle | Kosiv, Roksolana Romanivna 1973- Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv Ikonenmalerei (DE-588)4161248-6 gnd |
| subject_GND | (DE-588)4161248-6 (DE-588)1205555285 (DE-588)4145395-5 |
| title | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv |
| title_auth | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv |
| title_exact_search | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv |
| title_full | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv Roksolana Kosiv |
| title_fullStr | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv Roksolana Kosiv |
| title_full_unstemmed | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv Roksolana Kosiv |
| title_short | Rybotycʹkyj oseredok cerkovnoho mystectva: 1670-1760-ch rokiv |
| title_sort | rybotycʹkyj oseredok cerkovnoho mystectva 1670 1760 ch rokiv |
| topic | Ikonenmalerei (DE-588)4161248-6 gnd |
| topic_facet | Ikonenmalerei Rybotycze Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031281480&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031281480&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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