ROMANTIC WORKS OF WOODEN SACRED ARCHITECTURE OF ARCHITECT OLEG SLETSOV: WORLD AND NATIONAL IDEAS OF FORMATION

Abstract

The article is devoted to the compositional, spatial-constructive and semantic analysis of the works of Ukrainian wooden sacred architecture by the architect Oleg Sleptsov in the context of emphasizing the features of national identity and in the same time the background of involvement in the global world ideas. The study was carried out on the basis of the author’s analysis of the world archetypal models of temples (Antique, Iranian-Transcaucasian, South Asian semantic compositional models), compositional and structural-spatial types (independently combined, centric subordinate, asymmetric, etc.) of the Ukrainian wooden church. Between world and Ukrainian compositional models of temples analogies are revealed and specific features are emphasized. The following works by Oleg Sleptsov (embodied in life and search design options) were considered: wooden churches of All Saints of the Ukrainian land in s. Mironivka, St. Dmitry Solunsky in the ethnographic complex "Ukrainian Village" near Kiev, the Mother of God in the village. Alexandrivka, Saint Pokrovsky in the village Zelenky and others.As a result, it can be noted that the author does not work purposefully in any one specific architectural style, school or direction. In his work, the convictions of the “world open-minded cosmopolitan” are clearly manifested, creating the image of the temple on the basis of the global art and information field. However, in the work of the architect national roots are clearly traced. His special look at Orthodox architecture, which includes both creative work with canonical forms and images, and elements of innovation is harmoniously superimposed on this basis.