Традиція та модернізм у сакральному мистецтві Ігоря Зілінка

Abstract

У статті досліджено основні напрямки сучасного українського сакрального мистецтва у творчості художника І. І. Зілінка, його внесок у розвиток іконографічної традиції храмів Тернопільщини. Висвітлено основні напрямки стилістичної спрямованості у формуванні сучасного сакрального мистецтва, еволюцію розписів від реалістичних тенденцій українського церковного малярства XVII століття до експериментів із стилізацією іконописних фігур у пошуках більшої духовності обличчя, запровадження власної модерної іконографії, базованої на традиціях українського мистецтва, без порушення усталених канонів.

В статье исследованы основы направления современного украинского сакрального искусства в творчестве художника И. И. Зилинко, его вклад в развитие иконографической традиции храмов Тернопольщины. Освещены основные направления стилистической направленности в формировании современного сакрального искусства, эволюцию росписей от реалистических тенденций украинской сакральной живописи XVII века до экспериментов с стилизацией иконописных фигур, внедрение собственной современной иконографии, основанной на традициях украинского искусства, без нарушения сложившихся канонов.

The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.