No abstract

Iconography of the Ukrainian diaspora is an important component of Ukrainian (Western Ukrainian) canonical sacred art. Genetically, the iconography of the Ukrainian diaspora is based on the principles of Byzantine iconography, which included the color canon, the compositional canon and the canon of proportions, which performed important functions in Byzantine art. Ukrainian artists of the diaspora, adhering to the Byzantine iconographic canon, believed that it brings to the art information of utilitarian, historical and narrative plan. Scientific intelligence is devoted to these issues. The purpose of the section is to analyze the preservation of the iconographic canon in the sacred art of artists of the Ukrainian diaspora in the United States, Canada and Western Europe. It is necessary to consider the Byzantine iconographic rules, which serve as an artistic scheme for the creation of Christological, Mariological and festive themes in the iconography presented in the temples of ethnic minorities. Using the principles of Byzantine aesthetics, the diaspora artists of Ukrainian origin (Petro Kholodny Jr, Sviatoslav Hordynsky, Juvenal Mokrytsky and Khrystyna Dokhvat) managed to preserve the ancient Eastern Christian tradition of cult painting. The art of the above-mentioned artists is based on strict artistic rules recognized by the official Church after the Trullian Council (691-692), the Seventh Ecumenical Council (787) and the «Triumph of Orthodoxy», associated with decisions to introduce the dogma of icon worship in Constantinople Council (843). Preservation of the iconographic canon in the Ukrainian diaspora is a manifestation of the ancient Christian artistic spirit, which determined the types of major saints. The principles of the iconographic canon used in the painting of the Ukrainian diaspora also substantiated the location of the main gospel scenes in certain places on the walls of Christian religious buildings.

The article purpose is to analyse the state of scientific learning of the canon of the Ukrainian and foreign studies of art; to find out the emotional, expressive and pictorial style features in the canonical sacred painting of Rus-Ukraine of the 13th to the 14th century. The research methodology is to combine the analytical review and analysis and methods of cognition (to provide an objective analysis of research literature and primary sources that reflect the main trends in the development and functioning of the iconographic canon); sociocultural methodology (the ancient sacred Ukrainian art as a component of the Christian paintings of the Kyivan Church tradition was researched); the sociocultural approach (to determine the unity of the Eastern Christian aesthetic principles); historical method (to review the historical stages of formation and transformation of the iconographic canon); phenomenological method (to learn the importance of sacred art). The scientific novelty of the article lies in the fact that in the Ukrainian Art Studies for the first time there is a study on the subject of the iconographic canon as an important artistic principle of national iconography; the state of the scientific conception of the canon has been analysed; the emotional, expressive and pictorial style features in the canonical sacred painting of Rus-Ukraine of the 13th-14th centuries were discussed. Conclusions. We have identified the role of the canon in the art system of ecclesiastical art, its influence on art perception; the principles of the relationship between the canon and sacred art, etc. The study clearly shows that during the process of the historical development of ecclesiastical art the iconographic canon was being gradually destroyed (modified) on the territory of Rus-Ukraine. It is stated that isographic canon was a moving spirit mostly for a little-known gifted icon-painters of the past.

Ivano-Frankivsk Academy of St. John Chrysostom co-organized the regional scientific conference "Theological and socio-cultural activities of the Blessed Martyr Simeon Lukach." The conference took place on June 27, 2019 in the village of Staruni, Bohorodchany district, Ivano-Frankivsk region. On behalf of the Rector of the Academy, Metropolitan Archpriest, Dr. Oleksandr Levitsky, the conference participants were greeted by Vice-Rector for Research Oleh Bilous. Representatives of the Academy made scientific reports: Head of the Department of Theology Vasyl Gogol, Associate Professor of Theology Vitaliy Kozinchuk, Associate Professors of the Department of Social Sciences and Humanities Oleg Bilous, Andreya Masliy and Oleg Savchuk.

Автор презентує богословське, культурологічне і мистецьке роз’яснення про канонізовану традиційними еклезіальними структурами іконографію та відмінний від неї реалістичний (нецерковний) живопис. На основі власних спостережень автора статті досліджено основні ознаки канонічної ікони та протилежної їй світської картини (неканонічного з церковної точки зору) релігійного жанру. Подається пояснення особливостей іконографічного канону, основні богословські переконання щодо можливості опису або зображення канонізованих Вселенською Церквою святих на іконах. Автор також розглядає основні теоретичні і практичні питання реалістичного живопису.Ключові слова: ікона, іконографічний канон, православна ікона, релігійна картина, Вселенська Церква, параканон, мистецтвознавство, художник, жанр. In this scholarly article, the author presents a theological, cultural, and artistic explanation about the iconography canonized by traditional ecclesiastical structures and different realistic (non-church) painting. On the basis of the author's own observations, the basic features of the canonical icon and the opposite of the secular picture (non-canonical from the church point of view) of the religious genre were investigated. In the publication the author gives a brief explanation of the features of the iconographic canon, the basic theological beliefs about the possibility of describing or depicting the canonized by the Ecumenical Church of the saints on icons. The author also discusses the basic theoretical and practical issues of realistic painting.Key words: icon, iconographic canon, orthodox icon, religious picture, Ecumenical Church, art critic, artist, genre.