Особливості зображення сакральної атрибутики в іконостасах кінця ХVIІІ – початку ХХI століть

Abstract

У статті досліджено іконостаси, особливістю яких є специфічне горішнє обрамлення царських воріт із зображенням сакральної атрибутики. Розглянуто певний порядок розміщення належних предметів: у центральній частині – зображення митри, обабіч якої навхрест розташовано єпископський жезл і процесійний хрест. Охарактеризовано своєрідність хреста у трансформаційному втіленні – і як предмета літургійного облаштування, і як репрезентативного твору декоративного мистецтва.

В статье исследовано иконостасы, особенностью которых является специфическое верхнее обрамление царских врат с изображением сакральной атрибутики. Рассмотрено определённый порядок размещения надлежащих предметов: в центральной части – изображение митры, с обеих сторон которой накрест расположено епископский посох и процессионный крест. Охарактеризованы своеобразие креста в трансформационном воплощении – и как предмета литургического обустройства, и как репрезентативного произведения декоративного искусства.

Iconostases were taken into account, the peculiarity of which was a specific upper framing of the Royal Doors with a depiction of sacral attributes. In a certain order, the corresponding objects are placed – in the central part of the mitre, on both sides of which the episcopal crozier and the processional cross are placed crosswise. The peculiarity of the cross is in the transformational embodiment, both as a subject of liturgical arrangement, and as a representative work of the decorative art. The appearance of objects of processional attributes in the context of similar compositions is analysed, the important component of which is the cross that means the authority on the territory of the government. The analysis of artistic features of images is carried out and their place of destination in the spiritual heritage of the period under study is determined. Examples of the insufficiently studied Royal Doors are interesting given the fact that the processional crosses are available in them on completion. It is proved that images of the processional attributes in compositions were introduced at the initiative of clergymen. Both local and foreign ministers had these sacral objects, because the artistic level of the coat of arms on the territory of Western Ukraine is compared with the works of hierarchs of foreign countries. With the development of the Baroque style in Ukraine, the carving evolved to plastic, almost sculptural forms. The Baroque style brought the greatest freedom of the choice of form, composition, gave the opportunity of maximum consideration of traditions of the folk art in the professional carving. The Royal Doors are characterized by the magnificent decorative ornamentation. This is the carving with grape branches, covered with abundant bunches, flowerpots, flowers, various fruits, acanthus leaves, crowns, introduction of sacral elements, and above all, by the strength and dynamics of the composition. The Rococo epoch brought new decorative elements and compositional techniques in various combinations. Such interpretation of forms is quite common and realistic. The influence of the Rococo style entered the Ukrainian sacral art in the second half of the XVIII century, introducing the next changes, during this period the measured consistency of forms is lost, as well as strict symmetry, but certain lightness, tracery and asymmetrical constructions appear. The survey of the iconostases convinces us that the carved decor with transformed sacral motifs, that has been repeatedly analysed, complements and adorns harmoniously in the iconostases. The analysed iconostasis carving is indicated by a certain connection, since it shows the compositional unity of similar sacralised elements, which reproduce the attributes of the authority of clergy, in particular, the processional crosses and croziers. Nevertheless, it was the carved finial that was given such special significance in our study. It is possible to give many parallels, similar among the sacral motifs, the forms of which are imitated in the Royal Doors and are given as an accent that decorates the upper arch part of the iconostasis. Such character of the typically determined combination is inherent in the carvings of many iconostases, where the main feature is the use of certain sacral elements in the decor, that remind the church attributes due to the traditionally placed volumetric forms in the final field of the iconostasis doors. The regularities of the compositional system are considered, in which the used elements, transformed from the objects of church purpose, are the bright accent and became especially typical in the decoration of iconostases.