Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy
Церковний живопис Закарпаття станковий та монументальний живопис історичного Закарпаття до першої половини XX ст. : історико-мистецтвознавчі нариси
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| Format: | Buch |
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Užhorod
Vseukraïnsʹke deržavne vydavnyctvo "Karpaty"
2017
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Datensatz im Suchindex
| _version_ | 1819595446974152704 |
|---|---|
| adam_text | Зміст Вступ........................................................................................................................... 5 Глава 1. Церковне малярство Закарпаття: витоки, особливості та шляхи розвитку............................................................ б Народні ознаки
іконопису як відображення соціального стану церкви грецького обряду.......................................................... б Візантійська традиція як ознака культурної ідентичності........................ 9 Монастирі чину Св. Василія Великого - осередки духовного і культурного життя руської
церкви...................................................................17 Глава 2. Історико-культурні процеси формування професійного мистецтва Закарпаття.............................................................. 23 Культурні процеси в Угорському королівстві та його північно-східній частині у
другій половині XVII cm........................................ 23 Художні процеси XVIII cm. як відображення культурних змін на Закарпатті........................................................................................................ 27 Глава 3. Професійний церковний живопис на Закарпатті
другої половини XVIII - першої половини XX cm..............................................ЗО Церковне мистецтво другої половини XVIII - початку XIX cm...........................................................ЗО Живопис кінця XVIII cm. як відображення культурних змін..........................35
Іконопис Хрестовоздвиженського кафедрального собору................................39 Монументальний живопис доби А.
Бачинського у церкві Св. Параскеви у с. Олександрівка.......................................................... 48 Єпархіальні художники Мукачівської єпархії першої половини XIX cm..........................................................................................56 Діяльність Фердинанда Видри та ідеї необароко у церковному живописі Мукачівської єпархії.................................................... 63 Інститут єпархіальних художників у розвитку церковного мистецтва останньої третини XIX cm........................................70 Церковний живопис та пошуки нової художньої мови....................................73 Церковне малярство Йосипа Бокшая у контексті формування неоромантичних ідеалів Закарпаття.............................................................................................................. 79 Митці, які працювали на історичному Закарпатті упродовж XVIII - XX cm.......................................................................................... 94 Ікони та церковний розпис.................................................................................. ЮЗ Література...................................... Summary.................................................... 741 745
Summary In spite of a number of issues in the field of art studies that have appeared during last two decades, the art of Transcarpatina (Zakarpatska oblast of Ukraine) can hardly be considered thoroughly studied. New publications significantly expand the information about the art processes in the region and deepen the knowledge about the regions painting of the 20th century. Despite the peculiarities of the development of Transcarpathian culture a proper attention was not paid to the church art. As the preserved artifacts indicate the church painting was almost the only art which had been promoting for centuries the formation of the pictorial tradition of Rus (Ruthenian, Ukrainian) population. With all the positive tendencies in the study of the Transcarpathia art school, in particular its founders and second and third generations of Yosyp Bokshai and Adalbert Erdelis students, the questions of the art life of the 18th and 19th centuries remain unclarified. Deficiency of the scientifically justified information has led even in the professional circles to the erroneous conception of the development of art in the region. According to them the appearance of the Transcarpathia art school in the 20th century is to be treated as phenomenon which had been formed on the basis of folk culture, quality European education and modern approach of the founders. In this respect the possible influence of the former local painting tradition is nor taken into consideration. The proposed work concentrates attention at the church painting with the aim to find out one more fundamental factor
of the formation and development of the Transcarpathian pictorial tradition. The presented materials systematize the available information and open the perspective for the study of the specificity of formation of the later art environment and school of modern art. Obviously not all the questions of the development of the Transcarpathia art are embraced in this paper, after all the research is limited by the theme and period of time. It is the review of the scientific works on literary studies, history and church history that gives reasons for searching changes in the Transcarpathia pictorial art exactly in the second half of the 18th century. Basing on the researches of the adjacent humanitarian sciences we can affirm that this period has a special significance in the development of culture in the region. Furthermore we can confidently assert that this period had become determinative in the further development of the culture of the region during the 19th and 20 centuries. That is why the noticeable achievements of the humanities in studying the culture of the second half of the 18th century motivate also the art history to pay attention at this period in order to bring to light the main tendencies in historical and cultural context. Taking into account the significant transformation of the social life under the influence of the Enlightenment ideas, we can observe the growing attention of the church leaders to the artists’ professional level. New art language that had grown on the Renaissance heritage required professionaly trained artists. The growing role of art in a
temple space caused the appearance of the institution of eparchy painters who were responsible for the art level but also had to control works. The eparchy painters were those who recommended and gave painters right to work in the churhces of the eparchy. The masters of the middle of the 17th century can be considered the first professional artists and among them the personality of Ulia Brodlakovych-Vyshenskiy is especially notable. He is mentioned in documents as Mukachevo artist who lived on his craft. Later on, in the second half of the 18 th century, monasteries became the main centres of the development of professional art and monastic painters worked there and spread new art forms in the churches of the Mukachevo eparchy. One of the oldest information tells about the activity of «Prešov carver» in Malyi Bereznyi monastery. From the second half of the 18th century the professional artists are noted in the monasteries of the order of St. Basil the Great. In particular a hieromonk Mykhailo Spalynskyi who renovated the icon of the Holy Mother of Krasnyi Brid, is mentioned in 1769 in Krasnyi Brid monastery. We also know about the painting center in Krasnyi Brid from the life of Iosyp Zmii-Myklovshych (1792-1841), who was a novice there and studied painting and his teacher was one of the monks. Such icon painting centers had to exist in Mukachevo and Malyi Bereznyi monasteries, where iconographers Vartolomei Savchak (in Mukachevo) and Tadei Spalynskyi (in Malyi Bereznyi) are mentioned in tbe middle of the 18th century. The appearance of the painters in Basilian monasteries
can be indicative of the Greek rite monks communities ambition to perform art works with their own forces as it was a custom of the Latin rite communities. This is proved by the information about monks-artists of the Jesuit, Franciscan, Dominican and other orders who worked on the territory of Hungarian kingdom of that time during whole 18th century. Bishop Andrii Bachynskyi played a special role in the formation of the professional church art. In his circulars he demanded only professional artists to be admitted to work in churches. He also managed to attract the state help for the construction and decoration of new churches. Especially important were the agreements sighned between the state power and episcopate known as «Bachynskyi-Festetych contracts». According to these agreements the state undertook the engagement to provide material assistance for the construction and arrangement of the churches in Mukachevo eparchy. In the middle of the 19th century a pictorial art searched to serve the requirement of cultivating the historic conscience of population, which was especially popular in Hungary. It is no wonder that exactly this themes were supported by the thinkers of the Hugarian kingdom, among them were Ferencz Kazinczi (1759 - 1831) and count Ferencz Széchényi (1754 - 1820). It also caused a great interest amid educated clergy: bishop János László Pirker (1772 - 1847) was fond of historical works. These personalities also supported the new trend in pictorial art as Philanthropists. In Vienna academy religious paintng 245
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| author | Pryjmyč, Mychajlo Vasylʹovyč 1967- |
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| era | Geschichte 1700-1940 gnd |
| era_facet | Geschichte 1700-1940 |
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| id | DE-604.BV045529099 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-24T07:05:20Z |
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| isbn | 9789666714605 |
| language | Ukrainian |
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| publisher | Vseukraïnsʹke deržavne vydavnyctvo "Karpaty" |
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| spellingShingle | Pryjmyč, Mychajlo Vasylʹovyč 1967- Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy Kirchenmalerei (DE-588)4467460-0 gnd |
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| title | Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy |
| title_auth | Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy |
| title_exact_search | Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy |
| title_full | Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy Mychajlo Prymyč |
| title_fullStr | Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy Mychajlo Prymyč |
| title_full_unstemmed | Cerkovnyj žyvopys Zakarpattja stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy Mychajlo Prymyč |
| title_short | Cerkovnyj žyvopys Zakarpattja |
| title_sort | cerkovnyj zyvopys zakarpattja stankovyj ta monumentalʹnyj zyvopys istorycnoho zakarpattja do persoi polovyny xx st istoryko mystectvoznavci narysy |
| title_sub | stankovyj ta monumentalʹnyj žyvopys istoryčnoho Zakarpattja do peršoï polovyny XX st. : istoryko-mystectvoznavči narysy |
| topic | Kirchenmalerei (DE-588)4467460-0 gnd |
| topic_facet | Kirchenmalerei Transkarpatien Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030913252&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=030913252&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT pryjmycmychajlovasylʹovyc cerkovnyjzyvopyszakarpattjastankovyjtamonumentalʹnyjzyvopysistorycnohozakarpattjadopersoipolovynyxxstistorykomystectvoznavcinarysy |