Ukrainian baroque iconostasis and liturgical structuring of the monastery space

S. Olianina
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引用次数: 2

Abstract

Baroque iconostases of Ukraine with thematic iconographies have repeatedly come to the attention of researchers. This refers to iconostases that did not contain the composition Deesis and other images necessary for the year-round cycle of divine services. Instead of the traditional complex of icons, such iconostases contained images that fully covered the theme of the consecration of the altar. The preserved monuments are described in sufficient detail, but the motives and meanings of implementing such programmes have not yet been convincingly explained. The study offers a new look at the reasons for the appearance and symbolic meaning of thematic iconographic programmes of Ukrainian iconostases of the Baroque era. The meaning of introducing edited iconographic programmes is reconstructed using the hierotopic method. Its application identified that the development of thematic iconographies was based on a spatial iconographic concept in which the programmes of several iconostases interacted. The study showed that thematic iconographies were common in the iconostases of side chapels, while the main iconostasis contained all the necessary complex of images, including the Deesis composition. It is established that the introduction of thematic iconography for the main iconostasis was possible only for the monastery church, which in this case was understood as a chapel relative to the central iconostasis of the cathedral church of the monastery. In this carefully designed image system, the icon complexes of the iconostases of side altars and other monastic churches interacted with the iconographic programme of the iconostasis of the main altar in real space. The implementation of such a project expanded the liturgical space of the main church, covering the monastery complex. Therewith, symbolic meanings associated with the image of the temple in the Christian tradition were transferred to the monastery. The proposed reconstruction explains the lack of practice of creating thematic iconographies for the iconostases of the main altars in parish churches
乌克兰巴洛克风格的圣像和修道院空间的礼仪结构
带有主题图像的乌克兰巴洛克圣像已经多次引起研究人员的注意。这指的是圣像,不包含构成Deesis和其他图像需要全年的神圣服务周期。与传统的复杂的圣像不同,这些圣像包含了完全覆盖祭坛献祭主题的图像。对保存下来的纪念碑作了足够详细的描述,但实施这些计划的动机和意义尚未得到令人信服的解释。该研究为巴洛克时代乌克兰圣像画的主题图像方案的外观和象征意义提供了新的视角。引入编辑的图像程序的意义是重建使用分层方法。它的应用表明,主题图像学的发展是基于空间图像学概念,其中几个图像学的方案相互作用。研究表明,主题圣像在侧堂圣像中很常见,而主圣像包含了所有必要的图像复合物,包括Deesis构图。可以确定的是,在主圣像中引入主题圣像学只可能用于修道院教堂,在这种情况下,它被理解为相对于修道院大教堂的中心圣像的小教堂。在这个精心设计的图像系统中,侧祭坛的圣像和其他修道院教堂的圣像综合体与真实空间中的主祭坛圣像的圣像程序相互作用。该项目的实施扩大了主教堂的礼拜空间,覆盖了修道院建筑群。因此,在基督教传统中与寺庙形象相关的象征意义被转移到修道院。拟议的重建解释了教区教堂主要祭坛的圣像缺乏创作主题圣像的实践
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