| |
|
This book introduces one of the most interesting areas of Ukrainian
culture - ecclesiastical embroidery. Samples found in museums in Kyiv,
Chernihiv, Poltava, and Lviv in a wide chronological range - XII -XX century
are presented in the book. The study starts with a masterpiece from the XIII
century - the Mother of God Oranta - embroidered in gold, and ends with a
shroud of Christ done by O.Prahova on the eve of the XX century following V.
Vasnetsov's drawing for the St.Vladimir Cathedral in Kyiv.
The book shows the unity of gold embroidery samplers with the Liturgy, and
inner decoration of the church. It presents the symbolism of ecclesiastical
ceremonies and the actions of clergymen. It touches upon the Biblical themes
in the embroideries and narrates how these sophisticated ecclesiastical
postulares are depicted on and presented in liturgical instruments - for
example, protective veils of the Virgin, patens, shrouds of Christ, and
various vestments used by deacons and patriachs.
|
Cover of the book
(Click on images to enlarge them)
|
The wide panorama of liturgical embroidery genesis in Ukraine begins with a
sample from the XII century - a portrayal of the Mother of God Oranta, which
became a summit of decorative art in the Kyiv school. Illustrations include
the unique medieval works of art, among them the Shroud of Christ of
Zhyrovka village ( XV century ), and the Chasuble from Zolochiv village (XVI century ).They represent the evolution of ecclesiastic art, showing the
continuation of Byzantine traditions and links with the art of Greece,
Moldavia, the Balkan countries, and in a broad context with that of entire
Orthodox world.
The XVII and XVIII centuries are marked by a rapid evolution of liturgical
embroidery. During that time, it became a distinctive phenomenon of
Ukrainian culture, and acquired some clear features of national originality.
Outstanding masterpieces that belong to this art form demonstrate high
artistic achievements, as well as attest continuing progress of the
Ukrainian art from origins to maturity.
Evolution of gold embroidery in Ukraine was closely connected with convents
that were prominent centers of culture and education. Among the founders of
the monasteries were prosperous Cossacks leaders and hetmans who donated
considerably for their maintenance. Ecclesiastical embroideries done in
gold, silver, multi-colored silk, and velvet were used as various
instruments during the liturgy.
|
Crusifixion, 1728
|
On the eve of the XVIII century, the Kyiv monastery of Ascension, headed by
Mother-Superior Maria Magdalene Mazepa and her relatives, became a leading
center of embroidery. The book shows a number of unique items that the
members of Mazepa family commissioned and presented to different people who
donated to the Convent. During 1720s-1730s in the late Baroque period, a
leading role in shaping new styles passed to the Chernihiv monastery of Good
Friday headed by Mother-Superior Photyna, and from the 1740s-1750s to the
Kyivo-Phlorivskiy Convent headed by Mother Olena.
|
Archives of the monasteries, as well as their correspondence with the
prominent theologians of that time attest that both these women were highly
educated. Their sophistication and range of interests gave a new content to
the embroideries, manifesting the obvious link with spiritual life of that
time. Their high-quality works later became prototypes and were canonized
and copied by many others.
The album presents works of other needlewomen - Nektaria and Piora, whose
samples were discovered in museums of Ukraine. The most important aspect of
the book is that the author for the first time was able to establish the
authorship of those artifacts, which being considered a part of Medieval
art, traditionally were regarded anonymous. The reader for the first time is
presented with the names of icon-painters who designed the drawings for
embroidery, and the names of artisans who actually created them.
Monasteries had close connections with leading icon-painting work-shops and
first of all with the workshops of the Kyiv Cave Lavra, which is known for
well-organized system of painting and technical education, embroidery and
icon-painting. The best known schools were also in the Nizhynskiy,
Ladynskiy, Lebedynskiy, and the Kyiv-Phlorivskiy convents.
The panorama of Ukrainian embroidery given in the book from XII to XX
century enables us to trace the evolution of different styles of embroidery
beginning with post-Byzantine influences to Renaissance, Baroque and Rococo,
and Art Nouveau. No doubt, the most prominent works were created under the
influence of indigenous Ukrainian variant of the Baroque.
Baroque innovations touched the deepest structures of Ukrainian culture and
found their original interpretation both in folk and professional art. These
two European styles - Baroque and art Nouveau - had acquired in Ukraine its
national tinge, having become brightest examples of Ukrainian artistic life.
|
|
|
|
Shroud of Christ, 1896. Fragments
By Olena Prakhova
|
|
|
back
)
)
)
)
