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Art religiewc

THE INFLUENCE OF DUTCH GRAPHIC ARCHETYPES ON ICON PAINTING IN THE UKRAINĘ, 1600-1750

WALDEMAR DELUGA Varsovie

In the authoFs opinion the use of Dutch graphic works as prototypes was one of the main development factors of icon painting in Eastem Europę. In particular, the paintings in Orthodox churches within the 17th century Polish-Lithuanian Com-* monwealth were heavily influenced by Latin art, in spite of widespread opposition towards the Union of Brześć (1596), which created a new Greek Catholic or Uniate church and guaranteed the use of the Byzantine liturgy with the simultaneous rec-ognition of the pope.

Pavel Florenski, one of the greatest theologians of the 20th century, differen-tiates icon painting and graphic art in Russia, considering these techniąues as of different theological fiinction ¹ In the Ukrainę, however, it should be noted that icon painters were not bound by the same strictly orthodox position in observing iconographic conventions.²

¹    P. Florenski, ‘Ikonostas”, Bogoslavskie trudy, 9, Moscow 1972, p. 15.

²    The most interesting publications for histoiy of Ukrainian icon painting are: M. Kholubec, Khalycke malarstwo, L’viv 1926; I. Svencickyj, Die Ikonenmalerei der galizischen Ukrainę XVXVI Jhs., Lemberg 1928, V. I. Sventsitska, Ukrainskyj srednovichnyi zhivopis, Kiev 1976; S. Hordynsky, Die Ukrainische Ikonę 12. bis 18. Jahrhundert, Munich Graz 1981; V. A. Ovsiichuk, Ukramske mystetstvo drukhoi poloyyny XVIpershoi poloyyny XVII st., Kyi'v 1985; V. I. Sventsitska, O. F. Sydor, Spadshchyna vikiv. Ukramske malarstwo XVI-XVIII stolit u muzeinykh kolektsiakh, L’viv 1990; V. I. Melnik, Tserkva sviatoho Dukha v Rokhatyni, Kyi'v 1991; V. Aleksandrovych, Obrazotvorchi napramy v diiaTnosti maistriv zakhidnoykrains^oho maliarstva XVI-XVII stolit’, Zapysky Naukovoho Tovaristva imeni T. Shevchenka_y vol. CCXXVII, L’viv 1994, p. 57-87; V. Luts\ Zbirka volyns’kykh ikon Rivnens’koho Kraeznavchoho Muzeuju, Rodovid, vol. VIII, 1994, p. 39-50; N. V. Shamardma, K voprosu o sakralni geometrii ikonopistsev. Kompozitsionnye printsipy galitskoi ikony XVII veka, Filievskie chtenia. Materiały tretei nauchnoi konferentsii po problemmam russkoi kultury ytoroi poloviny XVH-nachala XVIII vekov. 8-11 iiulia 1993 go da, Moskva 1994, p. 68-81. A homogeneous group of icons can be found both in terms of style, iconography, and of techniąue along the Carpathian Mountains. Compared to the Russian or Greek icons, these works do not cluster around icon-painting schools on a national basis. Cf J. Kłosińska, Ikony, Cracow 1973 (the term “Carpathian icon^ł>); B. PuskAsz, Między Wschodem a Zachodem. Ikony z regionu Karpat z XV- XVIII wieku Łemkowie w historii ł kulturze Karpat, II, Sanok 1994, p. 269-288; R. Grządziela, Prawieniencja i dzieje malarstwa ikonowego po północnej stronie Karpat w XV i na początku XVI wieku, Łemkowie..., p. 267-288. We can speak of Smali Region (Kleinlandschaft) for the area that comprised Little Poland (Małopolska), Little Russia (Galicia), Hungaiy, Maramurej and Bukovina. In both such regions there is an obvious tendency to employ homogeneous iconographic and stylis-tic formulas, brought about by prints: when one surveys painting and sculpture chronologically, it is noticeable how the appearance of a motif in a given area depends on its distance from centre of the region. The farther away firom the centre, the later the motif was adopted Cf. my work: Śtudes comparatives de la peinture postbyzantine en Europę Centrale, Byzantinoslavica. Revue Internationale des Etudes Byzantines, LVI, Praha 1995.

Rev. Etudes Sud-Est Europ., XXXIV, 1-2, p.5-26, Bucarest, 1996