The Altar Partition of the Okhtyrka Assumption Cathedral of 1738: The Stylistic Decision and Iconographic Program

Abstract

The article is dedicated to the iconostasis of the Assumption Cathedral in Okhtyrka (1738). The iconostasis was installed at the expense of O. Lesevytsky (a colonel of Okhtyrka regiment and a brigadier of Sloboda regiments). The icons were painted by Kharkiv icon painter V. Dmitriev. While painting he was working in Kiev‑Pechersk Laura. The iconostasis of the Assumption Cathedral became an example of an innovative decision of altar partitions not only in Slobozhanshchyna, but also in the whole of Ukraine. The altar partitions reflected the stylistic innovations relevant for the first half of the 18th century – a combination of Rococo and Classicism. The iconostasis of 1738 demonstrates that the spread of these styles in Slobozhanshchyna took place much earlier than in Central and Western Ukraine, and the sacred art of Slobozhanshchyna regiments had its own path of development. The iconostasis of the Assumption Cathedral became the first altar partition, which broke with traditional for Ukraine and, in particular, for Slobozhanshchyna, stylistic and iconographic decisions of altar partitions. It can be considered the first altar partition, which opens a new era in the history of Ukrainian iconostasis. A new solution for iconostasis in Slobozhanshchyna was the introduction of the metric type in the construction of tiers (the rhythmic type was traditionally used before that), the elimination of the Deisus tier, which was replaced by a large-format Holiday tier. The iconostasis also shows internal influences. Thus, the Sovereign tier of the iconostasis presented images of Christ, the Birth‑Giver of God and saints, depicted in full length, which was widespread in Kyiv and had not previously been typical in Slobozhanshchyna (traditionally the Sovereign (bottom) tier of the iconostasis in Slobozhanshchyna consisted of half‑length images). A new solution of the Sovereign tier of the iconostasis was probably proposed by V. Dmitriev, who could transfer part of Kyiv icon-painting tradition to Slobozhanshchyna.