Articoli di riviste sul tema "Mural painting and decoration – 21st century"

The article deals with a non-canonical art practice in modern Chinese fine art, mural painting of public spaces. The actualization of the above-mentioned problem is caused by the appearance of changes and supplements to the morphological system of Chinese fine art: Chinese state has opened up to the world, dynamic urbanization has begun, the attitude of the society to public spaces and the tasks of mural painting in their visualization have changed. The purpose of the article is to understand the place of modern wall painting in the non-canonical structure of fine art in China at the beginning of the 21st century. The research methodology is based on the methods of both general theoretical analysis and formal-stylistic and compositional-coloristic analysis of works of art. The author analyzes publications in which the state of Chinese and foreign scientific discourse on the specified problem is investigated. Based on the examples of the analysis of the wall painting of Shanghai, Nanjing, Mianyang, and various Chinese villages, the main stylistic, compositional and coloristic means of artistic expressiveness of the murals of the 2020s are determined, and the functional features of modern wall painting as a non-canonical art practice of the latest Chinese fine art are revealed. It has been proven that at the beginning of the 21st century a non-canonical structure of fine art, dialogic in its communicative nature, began to form in the country, which is a part of general processes in the field of modern art. It is stated that today Chinese muralism is in the initial stage of its formation. The study of stylistic, compositional and coloristic means of artistic expressiveness of works of modern wall painting, which appeared at the beginning of the 21st century in China, allows us to assert that the main artistic style of modern wall painting remains realism and its varieties, hyperrealism and photorealism, focused on fairly traditional compositional solutions, but a bright color range. Considering the lack of systematic morphological studies of the fine art of modern China, we believe it necessary to continue analyzing the latest art practices, which today make up the non-canonical structure of the country’s fine art.

Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century.

The purpose of the article is to analyze compositional types, topography, methods, and techniques used in the formal solution of mural compositions in the Catholic churches of Eastern Galicia in the second half of the XVIII century. The methodology lies in the usage of art historical methods of stylistic analysis and generally scientific methods of analysis, synthesis, induction, deduction. The scientific novelty of the research is in the analysis of methods and techniques used by Galician masters in the second half of XVII century for implementation of mural compositions that were interpreted, adapted to local artistic traditions. The research can be used in the attribution of saved samples of the monumental art. Conclusions. The monumental painting in the Polish-Lithuanian Commonwealth, in particular in Galicia, developed in the context of artistic trends in West and Central European countries. Chronologically, the development of monumental painting in Galicia ranged from the thirties until the late XVIII century. As for the formal characteristics of monumental art, in the territory of the Commonwealth, the most common were three compositional types of polychrome: local variation of Italian «quadro riportato», illusionistic and panoramic. The basis of the first is the method of placing of the image on the vault area, framed with imitated or sculpted frame, the second is based on the quadrature and other methods and techniques of illusionistic monumental art, the third includes a panoramic image on the vault. In Galicia, the third type of vault decoration has not become widespread. Visiting masters were the bearers of these trends. They implemented the polychrome in local cathedrals, using a wide variety of methods and techniques for the formal solutions of mural compositions, typical for European art schools. Later, local artists adopted this experience, creating polychromes with certain interpretations of compositional types.

Currently in Russia the development of church architecture poses many problems associated with the revival of the national school of monumental religious painting. The article analyzes the main features of the development of monumental decoration of church buildings. It also emphasizes importance of an integrated approach to the solution of the architectural and artistic ensemble of the cult construction. The synthesis of national religious architecture and monumental church painting is the object of research and its features аt the present stage is the subject. The goal of the article is the identification of the main tendencies of integrated approach to the religious architecture, both for Russia and the Republic of Mordovia. The empirical material of the work is the religious architecture and monumental church painting of Russia and the Republic of Mordovia. The research is based on observation, descriptive and comparative methods of analysis. The article is based on the published research on the church art of Russia and the Republic of Mordovia. The turn of the 21st century represents the active practice of creating a modern church decor. This is characterized by a complex multistage process of collective creativity, characterized by specific architectural environment of the building, development of the design of the decor and the means of monumental painting. The turn of the 21st century represents a new step in the development of religious architecture and monumental painting in Russia. It makes a conclusion that at the turn of the century the use of the artistic experience of the past is the leading tendency in the development of modern monumental church painting. The necessity of achieving the synthesis of the architectural building and its monumental and decorative solution is empasized.

Ancient ceramic wall tiles, called “azulejo”, firstly used on Portuguese churches, monasteries and palaces (15-18th century) have progressively been used in particular houses till the last century. These tiles and its use in huge decorative panels can be considered as a precious but fragile cultural heritage from Brazil to India, in several countries influenced by Portuguese culture. Morphologically, these tiles are composed by a porous clay-based ceramic body, the terracotta, covered by a protective glassy phase, the glaze. As artistic paintings, these murals incorporated various kinds of pigments in the glaze layer to create a pictorial impact on the walls of rich palaces or churches, real and durable monumental works-of-art. In the 21st century, degradation marks are visible on these ceramic tiles because of their use under corrosive conditions (moisture, atmospheric cycles…) along centuries. In order to promote their conservation and enhance their restoration, the physical-chemical characterization of the azulejos is performed in the present work, using mainly non-destructive processes like micro-Raman spectroscopy or X-Ray diffraction. In particular, Raman spectroscopy allows the detection of some nano/microcrystals present in the amorphous glaze due to pigments or opacifying agents or related to the elaboration process of the azulejo. Based on the observation of various selected fragments, one states that very few pigments have been used as colouring agents in this ceramic art during 17-18th centuries. Thus, the relationship between the different colours, the introduced pigments and the structural aspects of the glass will be focused. Some features related with the ancient ceramic technology will also be discussed.

Статья посвящена истории бытования мезенской росписи - зооморфного орнамента, использовавшегося с начала XIX в. мастерами д. Палащелье Архангельской губ. для декорирования деревянных изделий, и в первую очередь прялок. В центре внимания находится судьба мезенской лошадки - главного символа палащельской росписи, ставшего в XXI в. основой локального бренда в г. Мезени и его окрестностях. В работе рассматривается история палащельского промысла, включая трансформацию его социального, экономического и культурного значений на протяжении XX-XXI вв. Прялка - главный носитель мезенской росписи - перестала выполнять свою утилитарную роль, став объектом семейной памяти и культурной ценностью, связанной с локальной идентичностью местных жителей и художественным значением, определяемым экспертами-профессионалами. Вследствие этих перемен, а также миграций населения из деревень в города прялки с мезенской росписью стали ассоциироваться с покинутой малой родиной и деревенским миром в целом, вызывая к жизни особую форму чувствительности, требующей специальных навыков понимания, толкования и любви к мезенской росписи. Как показано в работе, два режима восприятия мезенской лошадки - семейной памяти и эстетической ценности - тесно взаимосвязаны, определяя эмоциональную привязанность и популярность этого элемента традиционной росписи среди современных жителей г. Мезени и Мезенского района. This article concerns the history of the Mezen horse, a zoormorphic ornament from the village Palashchelye in the Mezen Region of Arkhangelsk Province. From the beginning of the 19th century it has been used by craftsmen to decorate wooden items, especially spinning wheels. In the beginning of the present century the Mezen horse became the symbol of Palashchelye painting and the main local brand for the city of Mezen and its environs. The article examines the history of Palashchel crafts and discusses the transformation of its social, economic and cultural significance during the 20th and 21st centuries. The spinning wheel, the main bearer of Mezen decoration, has ceased to fulfill a utilitarian role, becoming instead a focus of family memories and cultural value, interpreted both in terms of local identity and artistic significance. As a result of this change, as well as the migration of the population from villages to cities, spinning wheels with Mezen painting began to be associated with one’s abandoned birthplace and the rural world in general. This has given rise to a special kind of sensitivity that entails special skills of interpretation as well as love. Two different modes of such sensibility are discussed in the article - the mode of family memory and the mode of esthetic value - that are interwoven, endowing the Mezen horse with emotional meaning and broad popularity among the modern urban inhabitants of Mezen and its environs.

Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he was usually shown in the vicinity of Saint Diomedes (in the churches of Saint Achillius in Arilje, Saint George in the village Vathiako on Crete, Saint Nicholas Orphanos in Thessaloniki, the Annunciation in Gracanica, the narthexes of the Hilandar katholikon and the church of the Holy Virgin in the monastery of Brontocheion at Mistra, the katholicon of the Pantokrator monastery and the church of Saint Demetrios in Markov Manastir). There are no substantial data regarding the identity of the saints depicted next to him in the metropolitan Church of Saint Demetrios at Mistra, while in a number of cases the image of the saint shown next to him has not been preserved (e.g. Saint Irene in the village of Agios Mamas on Crete, Gregory?s Gallery in the church of Saint Sophia in Ohrid and the church of the Holy Virgin (Panagia Kera) near the village Chromonastiri on Crete). On the other hand, in the church of the Holy Virgin in Mateic, Saint Sampson is, exceptionally, depicted among bishops, while in the church of the Holy Archangels in Prilep and the chapel of the Holy Anargyroi in Vatopedi, he is, as usual, surrounded by holy physicians but his mates are not featured - neither Saint Mokios, not Saint Diomedes. The earliest known commemorative text dedicated to him is the extensive hagiography - Vita Sampsonis I, composed in the seventh or the early eighth century. Other hagiographies, which mostly date from the tenth century, are completely based on the earlier writing. Such a composition can be found in the Synaxarion of the Church of Constantinople. In the extensive text (Vita Sampsonis II), Symeon Metaphrastes added a part that included detailed descriptions of a number of posthumous miracles, mostly healings; all these events are also mentioned in the short Hagiography. Finally, in the late thirteenth century, Constantine Akropolites wrote the still unpublished Hagiography (Vita Sampsonis III), in which he presented an account of events from the later history of the Saint?s hospital. The hagiographies inform us that Sampson was a Roman by birth and a kin of Emperor Constantine. He inherited a fortune, which he distributed to the poor. Then, he departed for Constantinople, where he found a modest home. Patriarch Menas ordained him a priest. Relying on the medical knowledge, Sampson was saving the sick and he even cured Emperor Justinian from an incurable disease. For that reason, the Emperor found a large house, in which he established and fully equipped a xenon (hospital, ?????), whereas Sampson was appointed as the skeuophylax of the Great Church. The Blessed continued to work there until his death. His venerable leipsana, which rested in the church of Saint Mokios, constantly issued the cures. His feast was celebrated in the hospital founded by him. Long time had passed between the period in which the Saint had lived and the epoch in which his earliest hagiography was compiled. During that time, some events could have fallen into oblivion and accounts of other events could have been invented. Accordingly, the results of the researchers of Saint Sampson?s xenon?s history are valuable. The hospital was housed in Sampson?s home, where he provided not only health care, but also food and bed. It was presumably founded in the fourth century. The xenon was burned in the Nika riots in 532 and Emperor Justinian had it renovated and expanded. Based on some documents issued in the Empire of Nicaea, it may be concluded that the xenon had vast estates. The Crusaders first sacked it, to subsequently use it for their own needs, as they established the Order of Saint Sampson. The hospital soon received many properties in Constantinople and its environs, Hungary and Flanders. It seems that after the liberation of Constantinople, the activities of Saint Sampson?s hospital were ceased and that there was a monastery at its place in the Palaiologan period. Anyway, the reputation of its holy founder persisted throughout the thirteenth century. Constantine Akropolites wrote the already mentioned Hagiography, and in one of his letters he spoke of the Saint, who was also mentioned in a poem by Manuel Philes (died around 1345). In Constantinople, the veneration of Saint Sampson had two centres - the hospital named after him and the church of Saint Mokios, where his leipsana rested. According to the synaxaria of the Typikon of the Great Church and the Church of Constantinople, the feast dedicated to the Saint was celebrated at his xenon. The former text informs us that the service was held by the Patriarch, whereas Symeon Metaphrastes relates that the vigil on the eve of the feast took place over the relics in the church of Saint Mokios. The Patriarch celebrated the feast dedicated to Saint Sampson with hospital clergy in the church within the xenon, both mentioned by Metaphrastes. It was either this church or a shrine from a later period that housed the iconostasis noted down by Constantine Stilbes, an eyewitness of the Latin capture of the Byzantine capital. Written sources and archaeological finds are consistent in that the hospital was located between the churches of Saint Sophia and Saint Irene. However, the first excavations carried out at the site of the xenon were not properly documented, whereas archaeologists involved in further investigations could not rely on reliable data, though they carefully examined all finds. The question arises why Saint Sampson was at first usually depicted in the company of Saint Mokios, a presbyter who died a martyr?s death in Constantinople (May 11), and later, together with Saint Diomedes, the physician who died in Nicaea (August 16). Therefore, this paper briefly presents the hagiographies of the two saints and the churches in the Byzantine capital where their relics rested - the monastery of Saint Mokios, which did not exist in the mid-fourteenth century, and Saint Diomedes, which was counting its last days in the fourteenth century, reduced to a small monastery. Dobrynja Jadrejkovic (subsequently Antony, archbishop of Novgorod) noted down around 1200 that the saint?s stick, epitrachelion and robes were kept at the hospital of Saint Sampson, whereas in the church of Saint Mokios, under the altar, rested Saint Mokios and Saint Sampson. He also mentioned that water flew from the latter?s grave, as well as that the church of Saint Diomedes was near the Golden Gate and that the relics of Saint Diomedes rested there. However, the Russian pilgrims who visited Constantinople during the Palaiologan period mentioned neither Saint Sampson?s hospital, not the church of Saint Mokios, whereas the church of Saint Diomedes, but not his relics, was noted down only by an unknown traveller who described the pilgrimage undertaken between the late 1389 and the early 1391. The answer to the question of what happened to the leipsana that once laid in these churches is not possible to provide. The fate of the relics of Saint Sampson, previously kept in his xenon, is not known, nor is it known where the commemorations of the three saints were held in the capital during the Palaiologan period. Anyway, the depictions of Saint Sampson accompanied by Saint Diomedes - whose oldest examples are preserved in Arilje - indicate that the connection of these two priest-physicians had already begun by the time when the church was painted (1295/1296), but, judging by the available sources, the only evidence on the process is given by the paintings. Although Saint Sampson founded the hospital which was probably the oldest in Constantinople, and though his leipsana, kept in the church of Saint Mokios, had healing powers, while his relics in the xenon were visited by pilgrims, it seems that the respect for this saint in the Byzantine capital was not reflected in the frequency of his images among holy physicians: he was fairly rarely shown among them. As a matter of fact, the earliest representations of Saint Sampson originated from Constantinople. They can be found on lead seals made for the hospital in the second half of the sixth and during the seventh century. On the other hand, there is no any known preserved depiction of this saint in the mural decoration of the early churches. Accordingly, it may be assumed that the veneration of Saint Sampson was initially limited to Constantinople, and that it was only later, since the time when his short hagiography was included in the synaxarium and his extensive hagiography was written for the Metaphrastes?s comprehensive work, that it was adopted in other areas of the East Christian world. It may seem paradoxical that the preserved images of the Saint dating from the period when his xenon flourished are less numerous than those from the time when the hospital, in all probability, did not exist. It seems that after the liberation of Constantinople from Latin rule, Saint Sampson was earnestly honoured and that the believers frequented the monastery at the site of the old xenon, though the hospital did not exist anymore. The former assumption is corroborated by the writings of Constantine Akropolites and Manuel Philes, whereas the latter is supported by the coins from the Palaiologan period found in the sacral building within the complex that once belonged to Saint Sampson?s hospital. Although his miraculous leipsana rested in the church of Saint Mokios, the posthumous miracles of Saint Sampson, described in later hagiographies, mostly took place in his xenon, which housed the relics that were visited by pilgrims and where commemorative services dedicated to him were held. The veneration of the Saint was long fostered within the institution founded by him - the ancient hospital where trained doctors worked - i.e. it was nurtured between the reputation of medical skills based on secular knowledge and miraculous healings.

The purpose of the article is to introduce into scientific circulation, to attribute modern compositions of the academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra, to study their genesis. The research methodology consists in the complex application of historical and cultural analysis, art study, diachronic ones, as well as empirical observation. The scientific novelty of the study. The materials of the survey and proposals for restoration (1998) the compositions of academic mural painting in the Dormition Cathedral of the Kyiv-Pechersk Lavra of the late 19th – early 20th centuries have been introduced into scientific circulation. The academic mural painting in the Dormition Cathedral, the 21st century, has been introduced into scientific circulation. Its attribution has been performed. The names of the artists have been introduced into scientific circulation and it has been detailed who among them is the author of the project, who painted the holy images and who painted the ornaments. The dating of the compositions in different compartments of the Cathedral and the technique of their performance have been determined. The main thematic and plot lines have been revealed. The thematic, plot, iconographic, decorative, coloristic connections of the modern academic mural painting with the murals of the late 19th – early 20th centuries and with visual records have been studied. The similarities and differences of the academic compositions of 1897–1901 and 2018–2022 have been analysed. The principle of forming the colouring of modern academic murals has been revealed. Conclusions. In the modern decoration of the Dormition Cathedral of the Kyiv-Pechersk Lavra, the Academicism painting (1897–1901) is presented in the apse of the southern nave (diaconicon). In this compartment, authentic fragments of academic compositions have been restored, the painting system has been revived based on archival photos, and some new academic compositions have been introduced to it. Mural paintings have been performed by artists under the supervision of Oleksandr Pashkovskyi in 2018–2019. They also performed new murals in the academic tradition in the altar part of side-altar of the Saint Apostle Andrew the First Called in the southern part of choirs in 2020–2021. In the northern part of the choirs, paintings have been started and then suspended in 2022. In the new murals complex the artists cite in extenso or in part the compositions of the late 19th – early 20th centuries using archival photos. The murals have been performed in mixed techniques: holy images in oil, ornaments in acrylic paints. The composition ‘Glorification of Theotokos’ differs in the techniques; it is painted with oil on canvas. In the modern interpretation, the cited compositions can keep or change the primary location. The colouring of the new murals is formed on the basis of fragments of authentic compositions. A considerable part of the decoration is occupied by stylised ornaments as well as in murals of 1897–1901. The new and primary mural painting combine same academic principles of visual language, iconographic and colour principles, thematic and plot lines. Same general thematic lines are such as Theotokos theme, the theme of the Last Judgment, the Christianization of Ancient Rus, images of the saints of Ancient Rus and saints associated with the Kyiv-Pechersk Lavra. Keywords: sacral culture, Orthodoxy, academic painting, mural painting, sacral painting, Ukrainian painting, Dormition Cathedral.

The purpose of the article is to study the factor of traditionalism in the development of the complex of murals of the Great Church (the Dormition Cathedral) in the 18th – 21st centuries. The research methodology is based on historical, cultural and art historical analysis. Scientific novelty of the study. Traditionalism is defined as a factor in the development of mural painting of the Kyiv-Pechersk Lavra’s Great Church (the Dormition Cathedral) in the 1720s–2020s. The author reveals that traditionality was implemented in the principle of continuity in the formation of new murals. The imitation of a number of thematic and narrative lines of the seventeenth-century murals in the decorations of the 1720s, as well as the murals of the 1720s and 1770s in the compositions of 1811 and the decorations of the late nineteenth century is studied. The author proves that the main visual source of the reconstruction of the twenty-first century painting was not the painting of the 1720s but of 1840-1843 and some compositions of the 1770s and 1811. The change in the location of traditional subjects is identified as one of the means of innovation in the programmes of new paintings. The continuity of a wide range of compositions, including the themes of the Baptism of Rus and the Pechersk Monastery, is traced. Conclusions. Traditionalism had a significant impact on the development of the monumental painting of the Great Assumption Church in the 18th-21st century. The programmes of the new paintings of the 1720s and especially of 1894 show the imitation of thematic and narrative lines from the previous paintings. During the renovation of the entire church interior (1772–1777, 1840–1843) and exterior (1809), as well as the renovation of certain compositions (for example, in 1811), he imitation of paintings was almost unchanged (this was a requirement of the Kyiv metropolitans). According to the principle of continuity in the XXI century, artists created a baroque image of the Great Church, using archival sources of paintings from 1840-1843, 1811, and 1772-1777. The continuity provided a historical connection between the murals of different centuries in the Dormition Cathedral. Key words: sacral culture, Orthodoxy, sacred monumental painting, Ukrainian painting, Kyiv‑Pechersk Lavra, Dormition Cathedral.

The purpose of the article is to discover the mural paintings of the Great Pechersk Church as the version of theology and academic sacred mural painting of the late 19th century. The research methodology is based on complex using historical and cultural analysis, art study analysis, and biographical method. Scientific novelty. It is determined that the process of creating the Old Russian image in the Great Pechersk Church (the Dormition Cathedral) began in 1880. The photo of the drawing of the ancient part of the Church made by the order of A. Prakhov in 1893, has been introduced into scientific circulation. The author studied the painting decoration as a synthesis of the academic theological thought and academic sacred mural painting, discovered its implementation in choosing topics, plots, and placement of compositions. The author gave a characteristic of the source corps on the paintings from the collection of the National Preserve “Kyiv-Pechersk Lavra”. The author researched the transformation of painting preliminary design and Byzantine Canon of the 11–12th centuries on behalf of the Holy Mother of God theme and observed the connection of the composition “Ascension of Panagia” on the tradition of monastic life in the Kyiv-Pechersk Lavra. The topical and plotlines have been improved namely Christianize Old Russian is determined by one more leading topic. Conclusions. The process of creating a new mural painting in the Great Pechersk Church began still yet 1880. The detection of the ancient part of the Church contributed to the change in its painting decoration. This change was the result of the academic theological program implemented by means of academic sacred mural painting. The tradition of previous painting decoration preserved in the preliminary design end reflected one of the traditions of monastic life in the Kyiv-Pechersk Lavra. The witness in Pechersk Paterikon of the compositions in the Great Church has been implemented in mural paintings. However, the academic theological opinion of the late 19th century was subordinated to the canon of 11–12th centuries not complete. The theme of the introduction of Christianity was presented in mural painting as one of the leading topics.

The purpose of the article is to investigate the theological programme, continuity and originality of the mural paintings of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894. The research methodology is based on historical and cultural analysis, as well as art historical analysis. The scientific novelty of the study. The theological programme of the mural painting of the Cross Exaltation Church of the Kyiv-Pechersk Lavra in 1894 has been studied: its genesis, ideological basis, main theme, thematic plot lines, and thematic hierarchy have been determined. The continuity principle is defined as the basis of the connection between the original (the 18th century) and renewed (1894; Daniil Davydov) decoration of the Cross Exaltation Church. The pictorial compositions analogies to the paintings of the compartments of Lavra Great Church (Dormition Cathedral) according to the programme of the 1720s are observed. Secondary analogies with some compositions in the Lavra Trinity Gate Church are also indicated. Along with analogies, the differences in the thematic, compositional, and stylistic interpretation of the paintings have been investigated. The academicism features in the mural painting of 1894 have been analysed. The originality of themes and plots addition in the mural paintings with icons in the iconostasis and the altar has been revealed. Conclusions. The mural painting programme’s primary source of the Cross Exaltation Church of the Kyiv Pechersk Lavra has been the programme of painting the interior of Lavra Great Church (Dormition Cathedral) in the 1720s. The renewed mural paintings of 1894 inherited the original decoration of the Cross Exaltation Church. Analogies with the paintings of the Great Church can be traced to the theme and general compositional schemes. A partial analogy to the mural painting of the Trinity Church narthex has been used as a component for another theme. Innovations in the paintings of the Cross Exaltation Church have been manifested in the formation of a peculiar thematic hierarchy, a change in compositional elements, and a transition from the baroque style to the traditions of academic sacred painting. The originality is manifested in the presentation of emotionally saturated subjects in the altar icons and paintings, due to which a calm and sublime rhythm of the wall compositions are created. Some icons are a plot addition to the murals. Several thematic lines are revealed in the mural painting, namely the sacrifice of the Saviour on the cross, the sacrifice of a man to God, the meeting of a man with God, the Divine Liturgy and Church of Christ. The main theme of the church painting decoration is the glorification of Christ’s atoning sacrifice and the Precious and Life-giving Cross of the Lord as the instrument of His victory and our salvation. The ideological basis of the mural paintings theological programme is a line from the Epistle of the Apostle Paul to the Hebrews [Hebrews 19:39–40, 20:1–2]. Keywords: sacral culture, Orthodoxy, academic painting, baroque painting, mural painting, sacral painting, Ukrainian painting, Great Church, Dormition Cathedral, Cross Exaltation Church, Holy Trinity Gate Church, Daniil Davydov.

The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar of the St. apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos have been researched. It has been revealed, thanks to which principles of the construction of composition and colour, as well as specific decorative elements classicist mural paintings have been created in the compartments of these churches. On the basis of stylistic analysis and analysis of archival documents, the working hypothesis for the improvement of the attribution of mural painting of the Church of Nativity of the Most Holy Theotokos has been proposed. Its connection with the painting baroque decoration of the Great Church (Dormition Cathedral) has been observed. Conclusions. The classicism style was represented in the mural painting of the Kyiv-Pechersk Lavra churches in the 19th century. The murals of the side-altar of the St. Apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos were created in the classicism style. The painting decorations of the side-altar and the church were formed on the general principles of classicist composition, such as strict symmetry, a calm and clear rhythm, an ordered structure, and emotional restraint. The artist painted a number of elements of the classicist architecture such as caissons, elements of the Corinthian order, rust, etc. He created the illusion of bas-reliefs and stucco moulding thanks to the use of the grisaille technique. He painted illusory gilt frames of various shapes that bordered the compositions, stylized monochrome ornaments. He chose blue (the symbolic colour of the Theotokos) and shades of gray as dominants for colour. The analysis of the artistic style and records made it possible to propose the working hypothesis regarding the authorship and time of creation the murals of the Church of Nativity of the Most Holy Theotokos. They were painted, as well as murals of the side-altar of the St. Apostle John the Theologian by Kornilii Voloshynov during 1837–1838. In the mural painting of the church, in the plots and locations of the compositions there were borrowings from the baroque decoration of the Church (Dormition Cathedral).

The elusive dimensionality and ecologically entangled materiality of clouds have always made it hard to map and visually depict them. But while visual artists of the Romantic and Impressionist eras at last managed to relate the ecological entanglement of man-made clouds and their 'natural' counterparts, the 21st century is facing another challenging addition to the almanac of clouds: the cloud of the digital technosphere. In this article, artistic attempts at capturing its dimensional elusiveness and invisible ecological entanglement will be presented which draw both on previous representational strategies and on innovative practices to render visible this quasi-autonomous force of planetary magnitude.

The purpose of the article is to introduce into scientific circulation documents presenting the factual system of sacred compositions 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Dormition Cathedral (Great Church). The research methodology is synthesis of historical and cultural analysis, as well as art study analysis. Scientific novelty. The author has introduced the album of drawings by the artist Andrii Lakov into scientific circulation: “V. І. Vernadsky National Library of Ukraine. Lakov A. A. The album of plans and detailed drawings the inside of the Kyiv-Pechersk Lavra’s Great Church showing the locations of sacred images. 1905. Paper, mixed technique. 19 sheets”. Based on this document, the author has performed three research tasks using examples. First, she reconstructed the system of sacral murals of the Church’s compartment. Second, she revealed the difference between the project and the actual mural. Third, she improved and determined the location of a number of compositions. The author has revealed the important theoretical and practical significance of the album as a presentation of the factual system of sacred compositions of 1897 – 1901 in the interior of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral). Conclusions. The album of drawings by the artist Andriі Lakov (1905) presents the factual system of sacral mural painting of the Kyiv-Pechersk Lavra’s Great Church (Dormition Cathedral) of the late 19th – early 20th century. The album permits the determination of the compositions’ location on architectural surface. It is the evidence that artists partially changed the project in terms of the location of some compositions. This album provides an opportunity for the authentic historical reconstruction of the Cathedral’s painting decoration. Keywords: sacral culture, Orthodoxy, sacral mural painting, Ukrainian painting, Kyiv-Pechersk Lavra, Great Church, Dormition Cathedral, Andrii Lakov.

The purpose of the article is to discover the issue of creating the Byzantine iconostasis in the artistic decoration of the Kyiv-Pechersk Lavra in the 19th – early 20th centuries a case study of the Great Pechersk Church (the Dormition Cathedral). The methodology is based on complex using historical and cultural analysis, and art study analysis. Scientific novelty. Milestones of creating the Byzantine style iconostasis in the Dormition Cathedral during the 19th – Early 20th centuries have been discovered. The cultural and artistic basis for implementing the idea of Byzantine iconostasis in 1845–1847, 1890–1900s has been revealed according to the text and visual records introduced into scientific circulation. The dominant role of the main iconostasis for the image of side-altars’ new iconostasis has been determined. The conservatism of religious personages who wanted to preserve the features of the previous iconostasis (height, number of tiers, the old icons, etc.) has been proved. It is determined that the sacred value of some icons was more important as a stylistic priority and it barely led to the replacement of the material of the iconostasis (silver instead of marble that traditional for Byzantine iconostases). Published photos of the Big iconostasis and the approved draft of the main iconostasis with the author of autographs (photos from the collection of the National Reserve “Kyiv-Pechersk Lavra”). It has been found out distinguished Ukrainian art historian H. Pavlutskyi in one of them. The autonomy of the iconostases style of the mural paintings style in the Great Pechersk Church decoration has been proved. Conclusions. The attempt to realize the idea of the Byzantine iconostasis in the Kyiv-Pechersk Lavra’s Great Church in 1845–1847 created a precedent of the inconsistency of the artistic style of iconostasis and mural painting. The Byzantine style iconostasis hypothetically could exist in the spacious Baroque plastic art. Conversely, the complex of Baroque iconostases existed independently of the wall form performed in accordance with the Byzantine tradition at the turn of the 19th and the 20th century. The polemic pointed around the main iconostasis, a new іmage of other iconostases designed in a complex with it. The baroque tradition was implemented in the new iconostasis projects. The monks perceived a change in mural paintings but they considered some icons by sacral constants in the Great Church. The Big iconostasis without upper tiers with the Byzantine cross was the victory of the Baroque tradition. The preservation of Baroque iconostases was a testimony of their stylistic autonomy from the mural painting decorated in Byzantine style. Key words: sacral culture, Orthodoxy, Byzantine art, Baroque art, iconostasis, sacral mural painting, KyivPechersk Lavra, Dormition Cathedral.

The purpose of the article is to present the visual sources of the original Baroque mural paintings of the Dormition Cathedral, as well as to discover the reason for the absence of murals in some compartments of the upper tier before 1843. The research methodology is based on historical, cultural analysis, and art study analysis. Scientific novelty. The author specifies which compartments of the upper tier in the Great Church (Dormition Cathedral) remained without paintings until the 1840s. The reason (the confidentiality of preservation of the Lavra treasury) for which these compartments were not painted in the late 1720s-1730, in 1772-1777 is established. The author reveals and attributes the compositions of the original Baroque decoration of the Church painted in the late 1720s-1730, and conducted the art historical analysis. Conclusions. According to archival documents, the upper side-altars of the Saint Apostle Andrew the First Called (altar part), of the Transfiguration of the Lord (altar part), of the Venerable Anthony of Pechersk and of the Venerable Theodosius of Pechersk were not painted in the 18th century. The absence of murals in these compartments was due to the will to have secret places to keep the Lavra treasures. Fragments of the compositions in the photos (1898; the collection at the National Preserve “Kyiv-Pechersk Lavra”) are murals of the Great Church of the late 1720s – 1730. Key words: sacral culture, Orthodoxy, sacral mural painting, Ukrainian Baroque painting, Kyiv-Pechersk Lavra, Dormition Cathedral.

Contemporary quilters use a wide range of Patchwork and Quilt designs and styles, from ancient and ethnic to post-modern futuristic patterns. Unusual quilting designs have increasingly become popular as decorative textiles. During the late 20th century, art quilts became popular for their aesthetic and artistic qualities rather than for functionality. Patchwork & Quilt as a form of art is very popular throughout the world. Patchwork & Quilt technology is based on stitching together, tufted fabric pieces with decorative embroidery patterns and variations on the theme of the artist's intentions. The larger design is usually based on repeat patterns built up with different fabric shapes. Patchwork is most often used to make quilts, but it can also be used to make bags, wall-hangings, warm jackets, cushion covers, skirts, waistcoats and other items of clothing. Some textile artists work with patchwork, often combining it with embroidery and other forms of stitchery. Traditional patchwork – blankets and pillows include such familiar themes as Log Cabin, Star, Pineapple, Scrap-Quilts, Bargello etc. Traditional patchwork has identifying names based on the arrangement of colors and shapes. A unique form of patchwork quilt is the Crazy Quilt. Crazy quilting was popular during the Victorian era (mid-late 19th century). The crazy quilt is made up of random shapes of luxurious fabric. The patchwork pieces are stitched together forming "crazy" or non-repeat, asymmetric compositions. Fancy embroidery embellishes the seam lines between the individual, pieced shapes. Traditions of Latvian Quilt continues at Quilt Latvian Society. Inspired by the world, Latvian artists creatively extend the style and technique-specific boundaries. Patchwork & Quilt is a process that continues to evolve and improve the selection of fabrics and innovative technological solutions and means of artistic versatility. The aim of the work – To study traditional 19th century patchwork motif and to explore the usage of Crazy Quilt motif in contemporary patchwork. Material and Methods. This paper analyses the contemporary textile artists’ quilts and traditional 19th century Crazy Quilt motif. Conclusions. The research explores traditional 19th century patchwork motif, summarizes and analyses most common visual and technological features of Crazy Quilt motif. As a result of the research, and on the basis of personal experience, authors offer the Crazy Quilt practical training (workshop) objectives and terms of reference to ensure patchwork technique practical and artistic components. Applying both – traditional and contemporary patchwork sewing techniques and combining them with textile techniques such as embroidery, crochet, textile printing and different painting techniques, there is scope for costume decoration process. The Workshop’s content is suitable for students and participants who are interested in patchwork, quilting and everything in the diverse world textile arts in the 21st century, for beginners and intermediate makers. Participants can use a Crazy Quilt for design idea and learn the easy ways how to draw chosen designs and combine patterns to create a contemporary quilt and costume elements. As a result, students obtain new knowledge, self-experience in traditional textile techniques and motivation to study textile technology.