The Renaissance as a Process: the Transformation in Orthodox Church Painting in the Polish-Lithuanian Commonwealth
Study of the Revival of Ukrainian and Belarusian church painting. The history of the emergence and development of Rusyn Orthodox art in the Commonwealth in the 16th century. Features of the image of space and color reproduction in Russian icon painting.
| Рубрика | Культура и искусство |
| Вид | статья |
| Язык | английский |
| Дата добавления | 27.08.2023 |
| Размер файла | 2,2 M |
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Conclusion
As we create chronological divisions of the history of Ukrainian and Belarusian Orthodox painting, we need to bear in mind that the description of artistic phenomena occurring in the region at the beginning of the early modern period cannot be static. Here the Renaissance is not a style, an epoch or a period, but a process. To put it in simpler terms: here the Renaissance unfolds over time. The process encompasses almost two centuries, the sixteenth and the seventeenth.
In fact, the Renaissance emerged as a style only in the art of printed books. This is where it appeared first and lasted, acquiring increasingly perfect forms. The magnificent examples of Renaissance illuminations in manuscripts did not matter much to the establishment of the style, as this form of art soon became marginal. A decisive and dominant role in this respect was played by icon painting. And here for decades in the seventeenth century no work emerged that was pure enough in terms of its style that it could be termed а fully Renaissance work. What emerged instead were works-bridges between the Middle Ages and the early modern period, works that were transitional in nature and had traditional, late Gothic and Renaissance features. The full development or Renaissance stylistic features was not always hindered by а lack of talent or understanding of new forms proposed by Western artists -- even very skilled painters did not adopt them completely. Often this was а conscious choice stemming from а different attitude to art, which did not have to faithfully imitate the real world.
The early modern method of depicting space was one of the available possibilities, treated on а par with divergent or hierarchical perspective. Attachment to golden nimbi, backgrounds and inscriptions never, in fact, faded and has lasted almost continually to this day. Thus, if Orthodox painters active in the Polish-Lithuanian Commonwealth in the sixteenth and almost entire seventeenth century did not fully adopt the paradigms of Renaissance artists, they themselves can hardly be regarded as Renaissance artists. But nor did they draw on the tradition of medieval art; they abandoned it in search of new ideals of beauty. Thus, they were artists of а transitional period, which, however, did not lead to the emergence of the mature Renaissance style, but the next, Baroque style.
Yet we cannot say that the Renaissance did not happen. The most honest -- because closest to the truth -- conclusion is that the Renaissance was а process which unfolded. Here the Renaissance unfolded over а period of two centuries, without а strictly defined beginning and end. The Renaissance was а time of gradual transformations, not within early modern stylistic solutions, but outside, between the traditional ones, with Byzantine roots, and those originating in Western Europe.
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Appendices
Figure № 1
Figure № 2
Figure № 3
Figure № 4
Figure № 5
Figure № 6
Figure № 7
Figure № 6
Figure № 9
Figure № 10
Figure № 11
Figure № 12
Figure № 13
Figure № 14
Figure 15
Figure № 16
Figure № 17
Figure № 18
Figure № 19
Figure № 20
Figure № 21
Figure № 22
Figure № 23
Figure № 24
List of figures
1. Crucifixion from Owczary, Historical Museum in Sanok, no. 943, (Autor's spouse's photo)
2. Crucifixion from the Kostarowce, Historical Museum in Sanok, no. 3418 (Autor's spouse's photo)
3. King of Glory icon from Staryi Sambir, National Museum in Lviv, no Кв-15483/І-1570 (Autor's photo)
4. St. John in Royal Door from Plawia by «Master of the Yabluniv Transfiguration», National Museum in Lviv, no Кв-6487/І-314 (Autor's photo)
5. Passion from Mikhova, National Museum in Lviv, no Кв- 42407/І-2983 (Autor's spouse's photo)
6. Fragment of Deesis from Rivne, Saris Museum in Bardejov, no H 1011 (Autor's spouse's photo)
7. Fragment of Anna and Joachim, unknown provenience, National Museum in Lviv (Autor's photo)
8. Fragment of Passion from Bahnuvate, National Museum in Lviv, no. Кв 36508/I-2176 (Autor's spouse's photo)
9. Crucifixion, fragment of Passion from Bahnuvate, National Museum in Lviv, no. Кв 36508/I-2176 (Autor's spouse's photo)
10. Transfiguration from the Yabluniv, National Museum in Lviv, no. Кв-3598/І-1281 (Autor's photo)
11. Headpiece in Borszowice Gospels, National Library in Warsaw, Rps. 11802III, 1r (Public Domain; Polona.pl)
12. St. Matheus, Peresopnytsia Evangeliary, Vernadsky National Library of Ukraine in Kiev, inventory no. 15512 (photo from Autor's Archive)
13. Initial «К» in Byzantine style, Triodion, Krakow before 1490, National Museum in Krakow, noVIII-XV.12, 78v (Public Domain, cyfrowe.mnk.pl)
14. The headpiece in the en tete type, Apostle, Lviv 1574, Czartoryski Princes Library in Krakow, Cim 27 III, 56r, (Public Domain, cyfrowe. mnk.pl)
15. The tailpieces, Apostle, Lviv 1574, Czartoryski Princes Library in Krakow, cim 27 III, 53v, (Public Domain, cyfrowe.mnk.pl)
16. The title page, Bible, Ostroh 1581, State Public Science and Technology Library of the Siberian branch of the Russian Academy of Sciences, Novosibirsk, M.N. Tikhomirov's collection, no. 22-k. (Public Domian, spls.nsc.ru/rbook)
17. T. Senkovych, Emmanuel, Orthodox Church in Hribovichi Vielike, Ukraine (Autor's spouse's photo)
18. T. Senkovych, Mandylion, Orthodox Church in Hribovichi Vielike, Ukraine (Autor's spouse's photo)
19. T. Senkovych?, Virgin Hodegetria, Orthodox Church of St. Nicholas in Lviv, Ukraine, (Autor's spouse's photo)
20. M. Petrakhnovych, Virgin Hodegetria from Orthodox Church of Dormition in Lviv, National Museum in Lviv, Ukraine (Autor's photo)
21. Christ Pantocrator, from the Church of the Holy Spirit in Rohatyn, National Museum in Lviv, Ukraine (Autor's photo)
22. Virgin Mary with the Prophets from Povergov, National Museum in Lviv, no. Кв-33673/І-1025 (Autor's photo)
23. Andrew the Apostle with scenes from the life, unknown origin, National Museum in Lviv (Autor's photo)
24. Virgin (from Deesis) Hodegetria from iconostasis, Neamt Monastery Museum, Romania (Autor's spouse's photo)
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