author: Mykola Lahodych
Relevance of the research. The icon should be interpreted not only as a stationary object of decor in the church, but as a living image of the liturgical space, which combines cultural, artistic, symbolic and theological dimensions.
Problem statement. The liturgical space can be conceived as a system that comprises architecture, iconography, liturgical action, and even decorative decoration. They are always interacting with each other in a continuous manner. We find that the chief function of the icon in the liturgical space and its structure-forming role still constitute the issue of great import.
Analysis of recent research and publications. M. Balytska clearly informs that today's Ukrainian painters and iconographers, adhering to important basic principles, are actively working on the transformation of traditional means of artistic expression in iconography. Citing the thoughts of O. Tsuhork, it can be understood that modern Ukrainian icon painting aptly combines traditional canonicity with original aesthetic approaches. In this case, changes in the use of chiaroscuro effects, color scheme, texture and plasticity of images are of significant importance.
Research task. The purpose of the study is to determine the system-forming role of the icon in the liturgical space of the church, the characteristics of the relationship between the composition of the iconostasis, color, church architecture and the spiritual experience of the believer.
Main material presentation. In the process of the study, it was established that a vivid example of an organic combination of tradition and a modern artistic approach is the wooden church “Intercession of the Most Holy Theotokos” (1997–1999) in Kyiv. The six-tiered iconostasis is the leading element of the church. It was created according to the models of Cossack iconostases of the Mazepa Baroque era (2001–2003).
The entire building is said to have started with the basement level, which by the virtue of its symbolic meaning might very well be the gardens of paradise, the place of tranquility. Nonetheless, the tier of the altar is that which most literally seizes the spectator’s eye, being very clearly different from the rest in having the novelty of the shape and a wonderful usage of color. While the upper levels – the festive and apostolic tiers – exhibit an amazing variety of the author's expression, these tiers still perfectly belong to one, main stylistic framework. Also, among other images, the one that “The Virgin of Slobodsk, the Queen of the Cossacks” (O. Tsugorka, 2004) would appear to be most attractive, because it shows several plots of the Virgin, and the life icons of modern saints create a narrative space where human history is combined at the same time with eternity.
Conclusions. By the end of the study, the symbol is seen to go far beyond a simple sacred definition; it is, in fact, a complex tripartite of the artistic image, the indispensable spatial function, and the deeply theological content. This combination is thus the one that influences the spiritual life of the believer, shapes the liturgy very carefully, and enables the genuine experience of the sacred. Under the strenuous conditions of worship, the particular art of Ukrainian icon painting reveals a very fruitful interaction of the artist's innovative ideas with the limitations of the canon. The result of this highly refined method is that the elements of profound symbolism, the art historical layer, the painter’s personal artistic expression, and the historical origins as a collective memory are all successfully and harmoniously blended together.
Keywords: anthropology, theology, icon, liturgy, religion, service, values, church.
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