Monumental Painting Research Articles

On the Experience of Teaching Monumental Painting Using the Method of Visual Learning

The author of the article investigates the use of a visual teaching approach for monumental painting, as applied to fifth-year students at the Sergey Andriaka Academy of Watercolor and Fine Arts. The project involved students and their teacher collaboratively creating a painting plafond with a total area of 78 m2. The article chronicles the project's workflow, encompassing the creation of sketches, preparation of cardboard, execution of multilayer painting on canvases, and the subsequent installation of the plafond. Emphasis is placed on techniques for creating polychrome images using colorants with a restrained tonal and color palette, as well as on the multilayer oil painting process, which includes a grisaille tempera undercoat and a final glaze.

ASPECTS ON PRESERVING WALL PAINTINGS (EXAMPLE OF UKRAINE AND CHINA)

Analysis of tested restoration methods and their effects on historical fresco restoration cycles emphasized the specification of previous achievements and losses in the restoration industry. As examples, the wall paintings of the Dunhuang sanctuaries in China and the Trinity Gate Church in Kyiv were analyzed. Based on modern comprehensive research, periodic photo documentation and scientific monitoring of the monument, the main factors influencing the preservation of the mural of the Trinity Gate Church have been identified in the context of studying the problems of the current state of monumental painting. With a perspective on the development of heritage preservation measures and recommendations for further conservation, the study aims to determine the most effective ways to maintain the artwork's original state. The original chemical composition of the mineral pigments of the sanctuaries of Dunhuang and the Trinity Gate Church was determined. The common problems of the state of emergency for the wall paintings of Dunhuang and the Trinity Gate Church are outlined.

Art in School: Monumental Painting in Swedish Educational Institutions at the Turn of the 19th and 20th Centuries

Art in School: Monumental Painting in Swedish Educational Institutions at the Turn of the 19th and 20th Centuries

Mosaics of the Basilica of the Nativity in Bethlehem and Crusader monumental painting in the Holy Land in the 12th century

Mosaics of the Basilica of the Nativity in Bethlehem and Crusader monumental painting in the Holy Land in the 12th century

Urban Environment Design in Youth Slang Interpretation: Linguo-Axiological and Lexicographical Aspects

The linguistic and axiological potential of unofficial urbanonyms reflecting the realities of the urban environment as a design space is evaluated. The research tasks include identifying typical and non-standard objects and motifs of evaluative urbanonymic nomination, developing optimal methods for describing interregional nominative parallels and unique slang terms in the dictionary of unofficial urbanonyms. The material sources consist of dictionaries of youth slang, author’s archives of spoken language, and internet communications (2010—2024). The semantics of slang terms-urbanonyms were clarified using componential and contextual analysis methods. Parameters of their lexical description were developed using the method of lexicographical construction. Based on slang material from Pskov and St. Petersburg involving unofficial urbanonyms from Ufa, Volgograd, Novosibirsk, and other cities, the evaluative attitude of nominators towards design projects embodied in architectural structures, memorial objects, street sculpture, and monumental painting is demonstrated. Interpretations, comments, and contextual illustrations in the presented fragments of the projected dictionary reveal the specificity of the nominator’s imagery associations when implementing various ways of slang formation: playful transformations of official names, references to precedent phenomena, metonymic and metaphorical transfers and their combinations.

Review of Documents from the Russian State Library and the Russian State Archive of Literature and Art, Regarding the Defense of Graduate Art Projects (Painting, Sculpture, Graphic Series, etc.), Also Known as “Creative Theses”, by Artists Pursuing the Degree of Candidate of Art History in the US SR

According to Soviet Ministry of Higher Education Order No. 524 dated September 30, 1946, “On Measures to Enhance the Training of Graduate Students in Art Institutes”, the academic degree of Candidate of Art History could be conferred upon “an art practitioner, aspiring artist, for an artwork in their specialty, accompanied by the presentation and exhibition of the graduation work, along with pertinent drawings, studies and sketches”. Documents from the collections of the Russian State Library (RSL) and the Russian State Archive of Literature and Art (RSALA) contain records of the defenses of graduate art projects (easel painting, monumental painting, sculpture, graphic series, theatrical decorative design), also known as “creative theses”, held from 1946 to 1956. Twenty-two defenses took place at the Repin Institute of Painting, Sculpture, and Architecture, while twenty-one were held at the Surikov Moscow State Art Institute. The research conducted on library and archival resources enables the introduction of previously unstudied documents into scholarly discourse regarding the history of Soviet fine arts, the procedures for awarding academic degrees in the USSR, and creative postgraduate studies in the country's leading art institutes. These dissertations explore important themes of Soviet history and social life, many of which hold undeniable cultural and historical significance, with some being included in the Museum Fund of the Russian Federation.

HARMONY OF ARCHITECTURE AND MONUMENTAL PAINTING IN THE ART OF UZBEKISTAN

This study explores the harmony between architecture and monumental painting in the art of Uzbekistan. It investigates how architectural forms and decorative elements are integrated with painting techniques to create a cohesive visual language. Through an analysis of historical and contemporary examples, the research elucidates the cultural significance and aesthetic principles underlying this symbiotic relationship. By examining the interplay between architectural space and pictorial composition, this study offers insights into the unique artistic traditions of Uzbekistan and their enduring influence on architectural design and decorative arts.

Creative Heritage of I. Yizhakevych in the Collections of the Central State Archives-Museum of Literature and Arts of Ukraine

The paper studies the creative heritage of Ivan Yizhakevych — the People’s Artist of the Ukrainian SSR — through documents stored in various collections of the Central State Archives-Museum of Literature and Arts of Ukraine (hereinafter — the CSAMLA of Ukraine), by analyzing the descriptions of archival documents and their content, and making the attribution of the sketches, preserved in the artist’s collection. The research methodology is based on scientific methods of analysis, iconography, synthesis, description, classification, and comparison. Having analyzed the collections, including the fund 58, stored in the CSAMLA of Ukraine, several clarifications were made regarding the names of some drawings, sketches of I. Yizhakevych, literary works illustrated by the artist, and the dates of drawing for artworks marked as “undated.” Some images were identified as the sketches for some artist’s later paintings and drawings. For some reproductions of the artist’s works, stored in his fund, the year or the issue of the magazine, in which they were published, were clarified. The list of the collections, where researchers can find the information about Yizhakevych and reproductions of his artworks, was complemented. Prospects for further research are associated with study of the artworks of I. Yizhakevych in the museum collections of Ukraine, and of those published as illustrations in the fairy tales, literary works, and educational publications. It is necessary to study his monumental paintings, icons, and portraiture in order to clarify the sketches that remained unidentified. Taking into account the number of sketches, stored in the CSAMLA of Ukraine, which were not identified or correlated with completed artworks of the artist, it is clear that his great creative heritage requires further research. It is essential to catalogue the drawings and paintings created by I. Yizhakevych.

Роль епископии в социокультурном развитии Смоленской земли в XII-XIV вв.: к постановке проблемы

The article provides a comprehensive analysis of the cultural monuments of the Smolensk land of the 12-14 centuries, which could have been created thanks to the Diocese. The idea of the exceptional richness and versatility of the Smolensk culture of this period, which had a direct or indirect influence on the course of development of Russian medieval culture as a whole, both before and after the Mongol conquest, is revealed. Smolensk land in the pre-Mongolian period was one of the key regions of Rus'. At the beginning of the 13 century it was one of the four strongest lands, and representatives of the local princely dynasty simultaneously owned all the free tables: Kiev, Novgorod and Galich. This makes us look differently at the role and significance of Smolensk, not only in the political, but also in the cultural life of Rus'. The article analyzes the influence of the Diocese of Smolensk on the development of sociocultural processes in the Smolensk land in the 12-14 centuries. So, in Smolensk, through the efforts of the prince and the bishop, presumably, their own architectural school was formed, a characteristic feature of which is a special stepped-tower-like type of temple, the aspiration of architectural forms upwards, and the expressive decorativeness of the facade. Taking into account various traditions and developing them, the Smolensk masters found their own way. Smolensk architecture largely anticipated the coming changes in the architecture of North-Eastern Rus'. It seems significant that two artels operated in the city at once: princely and bishops. We can judge about the scope of church construction by the archaeological data found on the territory of Smolensk. Three churches of the 12th century have survived to this day: those are the Archangel Michael, John the Theologian, and the Apostles Peter and Paul. In parallel, monumental painting also developed, where the Smolensk masters were innovators and ahead of their time. It also formed its own artel of painters. Smolensk literacy was also distinguished by exceptional originality. Today we can talk about nine monuments that have come down to us, which are works of different genres and themes.

Comparative analysis of the paintings of the Italian missionary Cristoforo de Castelli and the sources of Georgian fine art

Relevance. The article raises the issue of the importance of the work of Cristoforo de Castelli, an Italian missionary, Patrice of the Order of Theatine, in the study of Georgian historical costume.Purpose. The sketches made by the author during his work in Georgia are analyzed, according to which it is possible to identify the types of clothes.Methodology. According to the drawings, the clothes of different strata of the population are compared with the clothes of historical figures depicted in the monumental paintings of Georgian monuments of the same period and the clothes of the characters depicted in the illustrations of literary works.Results. It emphasizes the identity of the costume depicted in Castelli's paintings and the miniatures of Georgian artist Mamuka Tavakarashvili and the similarity of some of the paintings.Conclusions. Finally, it is concluded that the visual material created over the years by Castelli as an eyewitness is still relevant today.

Память об умерших царевичах: к особенностям темы царского тезоименитства в ярославских стенных росписях XVII – первой половины XVIII вв.

The focus of this paper is on the glorification of the Romanov house in early Modern times in the art of Yaroslavl. The city of Yaroslavl was closely involved in the chain of events leading to the enthronement of the reigning Romanov dynasty and that is why much attention was paid in the city to their glorification in church worship and ecclesiastical art. Images of holy princes on temple pillars and the consecration of cathedrae in honor of tsars and princes have become a tradition in Yaroslavl. Our study of the iconography of murals in Yaroslavl churches confirms that the lives and destinies of each Romanovs’ generation were reflected in Yaroslavl’s monumental painting, including images of princes who died in infancy. For con-temporaries, a death of an heir to the throne was a great loss and an omen of coming tribula-tions. The long life of the tsar and his family was, conversely, seen as a promise of stability and abundance in the country. To ensure longevity and well-being of royal figures the intercession of patron saints of the royal family was evoked. Their images were widely disseminated both in icons and in wall painting. The highest point of their glorification was the unique fresco com-position “May the Tsar and His family be blessed”, representing the genealogy of the Romanov dynasty, ascending from the holy princes and crowned by numerous tsareviches (tsar’s sons). Based on the analysis of this composition the interplay of reality and fiction in popular per-ception of the ruling house is discussed.

Джинны и дивы как «чужие»: демонизация образа врага в классической мусульманской традиции и ее истоки

The present paper analyzes the origins of certain motifs of demonizing the “other” in classical Islamic tradition. It reveals the main trends in the development of this mythologem based off of textual analysis. The material for the analysis is a body of Arabic and Persian texts of different genres: history (al-Tabari, al-Juwayni, Khvandamir, Sharaf al-Din Bidlisi), geography ('adja’ib), folklore (“The Thousand and One Nights”), epic poetry (Firdawsi, Nizami), and theological literature (Muhammad al-Tusi). Motifs such as the hero marching to a land infested by demonic enemies and demonizing black people date back to Indo-Iranian tradition. A powerful enemy is often associated with a demon. This comparison emphasizes his superhuman fighting qualities. The most representative case is the demonizing of formidable conquerors, such as the Mongols. Demonizing the enemy is particularly frequent in official chronicles from the Timurid period onward. Comparison with demons had become an important component of Muslim ethics by the 14th and 15th centuries. Demonizing the outsiders can actually be seen most clearly in the visual arts: from pre-Islamic monumental painting in Central Asia to book miniatures. The most illustrative example is the depiction of demons in the paintings of Siyah Qalam. The author declares no conflict of interests.

On the Issue of the Semantics of the Monumental Paintings of the Church of the Saviour at Berestove of 1643–1644

The purpose of the article is to analyse the literature and sources covering the issues of studying the ideological and artistic content of the monumental painting of the Church of the Saviour at Berestove of 1643–1644. The author's main focus is on revealing the semantics of the mural's subjects and interpreting the iconology of the monumental ensemble, which will allow us to determine the place of the monument in the context of the national spiritual and artistic culture of the first half of the seventeenth century. It is planned to characterise the ideological programme of the monumental painting of the Petro Mohyla era and to identify the main accents in the system of paintings. The research methodology is based on the application of a systematic approach, an analytical method, art history, historical-comparative, historical-genetic, historical-systemic, and descriptive methods for a comprehensive consideration of the given problem and formulate well-founded conclusions. The scientific novelty is characterised by the fact that for the first time, based on a critical analysis of literature and sources, the need for a reliable semantic analysis of the monumental painting of the Church of the Saviour at Berestove of 1643-1644 was identified. Based on a thorough study of the features of the church's painting system, the leading artistic and visual themes are identified and a variant of the interpretation of the iconology of the monumental ensemble of the time of Petro Mohyla is proposed. Conclusions. Summarising, we should note, that in the process of analysing the system of paintings of the Church of the Saviour at Berestove, its integrity and the conditionality of all elements were noted. The nature of the images made it possible to identify the key areas that carry the greatest semantic and dogmatic load. The author identifies the leading theological themes in the system of paintings – the Incarnation and the Eucharistic Sacrifice – and outlines a number of subjects that represent these themes. It is noted that the theme of the Incarnation in Byzantine art acquired special significance after the victory of icon worship. The monumental ensemble of the Church of the Saviour of 1643-1644 was presented as a reminiscence of Macedonian Renaissance art. It was noted that the programmatic archaism of the system of paintings and a specific set of subjects were related to the actual tasks of the spiritual life of the time of Petro Mohyla. Keywords: Church of the Saviour at Berestove, monumental painting, Macedonian Renaissance, post-Byzantine art, system of paintings, semantics, iconology, theological programme, ideological and artistic content, spiritual culture, archaism, Era of Petro Mohyla.

Restoration of Monumental Painting in Ukraine in the 1950–1960s. Social Aspirations and Ideological Collisions

The purpose of the article is to consider the peculiarities of restoration of sites of monumental painting of Ukraine in the post-war years 1945-1960s in the context of the influence of social, economic, and ideological factors. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalisation and abstraction, semitic, descriptive, which together made it possible to obtain well-founded conclusions. The scientific novelty consists in outlining the general directions and approaches in preserving the artistic heritage of the post-war period of the 1950s-1960s, identifying gains and losses. Conclusions. Against the background of the global scale of the destruction of cultural heritage monuments, which required the implementation of complex monument protection and restoration tasks, the foundations of scientific methodology in the field of restoration of wall paintings were formed. The increase in the pace and volume of the restoration of cultural and artistic monuments after the Second World War was affected by new challenges caused by the lack of a material, technical and methodological base, qualified human resources, and shortcomings in the organisation of work. At the same time, deep destructive manifestations caused by atheistic state policy with a pronounced totalitarian colour have become fatal for a number of Ukrainian historical and cultural monuments, introducing a contradictory character into the establishment of the restoration work in the country. Thanks to the active position of leading cultural figures and the founders of the new Ukrainian restoration school of monumental art – Luka Kalenichenko, Olha Plihusch, Yevhen Mamolat, the first post-war decades became decisive in the formation of the national restoration and monument protection industries. Keywords: monumental painting, restoration, restoration workshop, preservation of monuments.

The Lost Monument of Ivan Yizhakevych’s Art. Murals of Metropolitan’s Chamber in Belgorod

The paper raises the issue of studying the history of the prominent monumental painting of the early 20th century— the mural at the metropolitan’s chambers in Belgorod by the famous Ukrainian artist Ivan Sidorovich Yizhakevich. All available written, visual and digital sources were reviewed ir order to study the history of the monument. An art analysis of the illustrative material was performed. The paper aimed to find and systematize all available materials on the issue, and in addition, after analyzing all the available material, to make a probable reconstruction of the monument’s appearance, components, and most importantly, to highlight the role of Ivan Yizhakevich in creating this mural. During the work, a considerable source base, historical information and a significant body of literature were reviews. The conclusions hypothesise the composition of the ensemble of murals at the Metropolitan’s Chambers, outline the history of its creation, the role and guiding principles of Ivan Yizhakevych during his work on this wall painting. By searching and systematizing the available information about the ensemble of paintings of the Metropolitan’s Chambers in Belgorod, the value and uniqueness of Ivan Yizhakevych’s work as a prominent master of monumental painting has been proven.

Paintings of the Refectory of the Annunciation Church in the Village of Knyazhevo in the Artistic Culture of the Bezhetsky Region

In recent decades there has been a reassessment of 19th century church culture. Consideration of the outstanding monuments of mural painting allows us to draw a conclusion about the outstanding character of the art of the Russian province. The relevance of the study of murals is connected with the total destruction of rural churches. The painting of the refectory in 1893 in the Annunciation Church in the village of Knyazhevo organically fits into the artistic context and continues the tradition of church monumental painting of the Bezhetsky region. On the example of the main cycle of subjects based on “The Beatitudes” the engravings-samples from the Bible by Christoph Weigel (1695) and compositions from various churches of Bezhetsky district are considered. Although engravings played a significant role, they did not hinder the independent development of art. The article analyses various variants of reproduction of graphic prototypes in mural painting. An assumption is made that local masters had a hitherto unknown prototype based on Weigel’s engravings. Archaic prototypes were organically combined with more modern ones, both Russian and foreign. Eclecticism stylistics, professionalism of masters and a powerful local school allowed combining different directions into a single whole. Paintings were created in accordance with the forms of architecture. Ornamental design helped to organically arrange compositions on walls and vaults. The artistic culture of the Bezhetsky region proved to be so stable that it allowed to recycle recognisable prototypes and demonstrate a wide range of pictorial means for many decades until the end of the 19th century. For the first time, the author’s diagram of the mural arrangement of the refectory is published.

CONCEPTUALISATION OF THE MEANINGS OF FLOWER SYMBOLICS IN INTERIOR SCHEDULES

The purpose of the study is to analyse the scientific literature to update the problems associated with the study of the symbolism of flowers and its interpretations. The methodology of the work is based on comparative historical and comparative typological methods, which make it possible to establish the complexity and ramifications of the problem of colour symbolism; The cognitive approach made it possible to identify the dependence of the use of interpretive capabilities of colour symbolism on the formation of the emotional component for the disclosure of contents and associations. The scientific novelty of the work lies in the addition of scientific literature with new studies of colour symbolism. Conclusions. Based on the study of scientific literature, it is possible to determine the relevance of problems associated with the symbolism of flowers and its specificity. Acquaintance with the works of scientists (P. Zholtovsky, A. Kondratyuk, A. Lopukhina, L. Milyaev, F. Umantsev) made it possible to determine the directions of research of the monument and the lack of works on the symbolism of flowers in the painting of the temple. The scientific works of V. Ovsiychuk and M. Pastoureau became the basis of the theory and history of the study of flowers. The timeliness of the research is confirmed by the developments of foreign institutions and scholars, in particular, the problem of: colour psychology (H. Brem); colour theory (M. Oswald, Weingarten University of Education, German Colour Centre, University of Halle-Wittenberg); global visual communication by colour (T. Fassati). During the heyday of Baroque art, the masters of the Lavra art school used the symbolism of flowers in a new way in the ensemble of paintings of the Trinity Gate Church. Mysticism prevails in the picturesque palette of the church.
 Keywords: cultural codes, colour, symbolism, interpretation, interior, painting, monumental painting, Trinity Gate Church.

The work of Mykhailo Boychuk (Lviv period) and the "Studio" collection of the Studyts Monastery in Lviv

It has been analysed the activity of Mykhailo Boychuk in the period 1910 –1912, when the artist performed monumental paintings and easel icon painting works for the Studyts Monastery in Lviv on the street Petra Skargy, 2a (now Ozarkevicha St.). At this time the artist together with M. Kasperovych, S. Nalepinska, S. Beaudoin de Courtenay, G. Schramm and other representatives of his Parisian group worked on the frescoes of the chapel in the premises of thе monastery. The preserved works from the "Studio" collection include: "St. Nicholas" (1910), "St. Josaphat" (1910), "Jesus Christ" (1910s), "Covering of the Virgin" (1910) ("The Prophet Elijah" (1911), "The Last Supper" (1911) mosaic "St. John" (1910). The main type of Boychuk's artistic activity in 1910–1914 became religious painting. The artist revived forgotten techniques of tempera and frescoes, became a recognized restorer in the territory of Ukraine. Attention is focused on works of icon painting that have survived to this day and belong to the exposition of the Lviv National Museum named after Andrei Sheptytskyi. The object of the study is the icons and polychromies of Mykhailo Boychuk made for Studyts Monastery chapel (former Diakiv Bursa). The subject of the study is the iconography of his works, in particular, the characteristics of the iconographic type of St. Yosaphat Kuntsevich.

Teodor Buzu's extemporaries: light and singularity

A notorious representative of the contemporary Bessarabian artistic diaspora, Teodor Buzu is a well-known name in the Romanian and Central European artistic scene. Having settled for over three decades in Tabor in the Czech Republic, the artist takes part with devotion in exhibitions in the Republic of Moldova and in European countries. He is a versatile artist, working in watercolour, easel painting, graphic design, ceramics, monumental painting, and book graphics. He is a member of the Volary Group, together with his friends, the Czech painters Pavel Klima and Vit Pavlik, sharing a passion for experimentation and a common vision of creation and its role in the modern world. In July 2023, the Volary Group was hosted by the National Art Museum of Moldova with the exhibition Ex tempore/ Improvizații.

Variations in the Byzantine Artistic Tradition in Kyiv-Pechersk Lavra Churches’ Painting in 1890s – 1910s

The purpose of the article is to study the embodiment of the Byzantine artistic tradition in the monumantal painting of the Kyiv-Pechersk Lavra in 1890s – 1910s. The research methodology is based on historical, cultural, and art historical analysis. Scientific novelty. The article reveals a weakening in the use of the Byzantine artistic heritage in the monumental painting of the churches in the Kyiv-Pechersk Lavra. The transformation from the systematic use of Byzantine ornaments and the symbolism of gold in the Great Church (the Dormition Cathedral) in the late 19th century to fragments of Byzantine compositions in Art Nouveau ornaments have been traced. The decorative golden background in the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) in the early 20th century has been explored. The use of the term "Neo-Byzantine style" for the painting of the Great Church is proved to be incorrect. The author made the following conclusions on the basis of archival information introduced into scientific circulation. Firstly, the algorithm of creating ornaments and a golden background as the basis of the Byzantine artistic tradition has been observed. Secondly, the authorship and dating of paintings of the Great Church have been clarified. Thirdly, it is determined that the rejection of the Byzantine tradition in favour of the Art Nouveau style in the Refectory Church took place in 1902, along with the change of artists. The significance of preparatory sketches and paintings of the Great Church for the creation of the compositions of the Refectory Church has been emphasised. Conclusions. The Kyiv-Pechersk Lavra did not have the opportunity to return to the Byzantine tradition in the technique of monumantal painting, namely to the technique of mosaics and frescoes. In the paintings of the Great Church (the Dormition Cathedral) and the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) the Byzantine tradition was realised mainly in decorative elements, namely in ornaments and the golden background of compositions. In both churches, the artists implemented thematic and narrative lines in the tradition of late academicism. Along with V. Vereshchagin, V. Fartusov was the author of the paintings in the Great Church. The paintings date from 1897 to 1901. The transition to the Art Nouveau style in the decor of the Refectory Church began in 1902. The ornaments of the Refectory contain elements of national (Ukrainian) motifs and fragments of Byzantine ornaments. The preparatory sketches and paintings of the Great Church served as the pictorial basis for the compositions of the Refectory Church and the Chamber. Key words: sacral culture, Orthodoxy, sacral monumental painting, Ukrainian painting, Byzantine art, academicism, Art Nouveau style, Kyiv‑Pechersk Lavra, Great Church, Dormition Cathedral, Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber, Refectory Church.