Plots of “Sundays of Pentecost” in iconostasis cycle painted by Luka Dolynskyi: symbolics and iconography

Abstract

The main object of the research is a selected group of the religious paintings belonging to the iconostasis created by Luka Dolynskyi for several churches in Lviv and Pochayiv from 1770s to 1820s . This investigation is the part of the great case study of the art heritage of Luka Dolynskyi in the comparative context of the Central European late Baroque ecclesiastical art. Although the analyzed paintings were linked to the Sundays of Pentecost cycle, depicting the special period of the liturgical year they were not commonly used in Ukrainian iconostasis until the end of 17th century. These motives complemented the Twelve Great Feasts iconic cycle which was the essential part of the Ukrainian iconostasis from the 16th century.While working on the iconostasis of the mentioned churches, Dolynskyi modified the traditional range of topics and introduced some new compositions into them. Among the themes that were constantly encountered in the artist’s works were the themes of the Sundays of Pentecost. Such Gospel events as “Healing a blind”, “Healing a paralytic”, “Christ and Samaritan woman” or “The Incredulity of Saint Thomas” were distinctly connected with substantial issues of the faith and piety actualized by Uniate higher clergy after the Zamoyskyi Synod of 1720.Symbolics and iconography of the selected paintings and their interdependence with Uniate clergy intentions to influence church art of the 18th century are researched. It should be mentioned that changes in the general principles of church decoration and transformation of the traditional composition of iconostasis had significantly limited the motives. The iconographical peculiarities of the Pentecost weeks cycle in general aspects, as well as the special Uniate theological background of the Dolynskyi artworks are analyzed.The following study of these paintings in a specific local context has revealed the symbolic meaning of the Gospel topics depicted in ecclesiastical art. The relevance of the article is supplemented by a comparative context for the identification of mutual influence in Western and Eastern iconography of the scenes of “Sundays of Pentecost”. Keywords: cycle of “Sundays of Pentecost”, theological basis, iconographic program, symbolics of motives