Монументальний церковний живопис Юліана Буцманюка першої половини ХХ століття

Abstract

Дисертаційне дослідження присвячене творчості видатного українського художника Ю. Буцманюка в сфері монументального малярства, зокрема розписам у церкві Прсв. Серця Христового у м. Жовква (Львівська обл.), які були виконані ним у першій половині ХХ ст. Також розглянуто естетичні засади стилю модерн, його характерні риси та приклади прояву у сакральних спорудах європейських країн, його появу у монументальному мистецтві Галичини і зокрема в архітектурі та декорі жовківської церкви. На основі зібраного матеріалу реконструйовано життєпис Ю. Буцманюка, укладено хронологію виконання ним монументальних робіт, систематизовано архівні матеріали пов’язані з перебудовою храму Прсв. Серця Христового, проведено іконографічний та іконологічний аналіз всіх композицій стінопису церкви. Використовуючи комплексну методологічну базу, було розглянуто особливості авторської манери Ю. Буцманюка на тлі новітніх тенденцій, пошуків та впливів у сакральному монументальному малярстві Галичини в контексті загальноєвропейських ідейно-художніх процесів першої половини ХХ ст. The dissertation is devoted to the work of the Ukrainian artist Yu. Butsmaniuk in the field of monumental painting, in particular the analysis of his paintings in the church of The Holy Heart of Christ in Zhovkva (Lviv region), which were performed in the first half of the 20th century. On the basis of the collected material the biography of Yu. Butsmaniuk is reproduced, the chronology of the monumental works performed by the artist is made, the archival materials related to the reconstruction of the church in Zhovkva are systematized, and the iconographic and iconological analysis of all compositions of this temple is car ried out. In order to understand such a phenomenon as the Modern Style, its aesthetic principles and main features are traced. In the dissertation research, as an example of the manifestation of the Style in the monumental art of temples, a number of European monuments are considered, as well as the Ukrainian artists who worked on the decoration of church interiors in the early 20th century are mentioned. In the context of the work, an interesting example is the stained glass and mosaic decoration of Paris Basilica of Sacré-Coeur (The Holy Heart of Christ) by the French artist L. O. Merson. The largest of the mosaics “The Awe of France before the Heart of the Lord” in terms of ideological theme, stylistic decision and composition is very close to Yu. Butsmaniuk’s murals. The Modern Style spread across Europe and gave birth to the similarity of many artistic processes in different countries. The views of European modernists and theorists created ideological foundation for many Lviv artists. The publications o f Ukrainian architects, artists, and historians, which referred to the need to develop the national features of art, are particularly important for the study. The raised issues made it possible to understand the problems that had to do with the monumental sacral painting that Yu. Butsmaniuk tried to solve in his works. The Modern Style most concerned the architecture of Galicia. The work emphasizes the issue of penetration of general tendencies in the development of sacral construction. Those influences caused changes in the architecture and interiors, both in Polish and in Ukrainian churches. The architects incorporated the philosophical and theological ideas of that time into the designs of future temples, and the artists filled the newly constructed structures with artistic elements that responded to the new aesthetic tastes. The new temples were decorated with murals, mosaics and stained-glass windows with the characteristic solution of compositions, the construction of light-shades, and the choice of colours. The synthesis of arts characteristic of the Modern Style is considered. It is determined that the architecture of The Holy Heart of Christ Church in Zhovkva, which was rebuilt under E. Kovach’s project, has features of the Modern Style. The Modern Style painting by Yu. Butsmaniuk was organically combined with the architecture, adding integrity and completeness to the ensemble. The murals of Yu. Butsmaniuk in Zhovkva church fill the walls of the temple completely. It is part of a unified theological program that is dedicated to the worship of The Holy Heart of Christ. This new topic in the Ukrainian church monumental painting has found a peculiar solution. The artist tried to combine the two biblical Testaments in the images and to represent their relationship in the glorification of the Heart of Christ. The study revealed how, using new ideological and aesthetic and formal means, the artist in his own way interprets traditional subjects and develops author’s iconography for compositions with new themes. Yu. Butsmaniuk’s special ability to combine the traditions of Ancient Ukrainian and Western European painting, to subordinate the compositions to architecture, to subtly feel the space, color and form is pointed out. It is emphasized that the artist used a characteristic synthesis of arts in his work, which was manifested in the combination of murals, stained glass and mosaic imitation. It is noted that the artist worked in different genres, but was particularly fond of portrait painting, having left a whole gallery of portraits of his contemporaries. According to the tradition of the Ukrainian painting of the 17th-18th centuries Yu. Butsmaniuk, in addition to biblical and historical figures, introduces priests, civic, military and political figures of the early 20th century into his works. Analyzing their images, the names of a number of priests and monks are established, the portraits of whom were taken as the basis for the images of saints in Zhovkva mural painting. In the course of research in the monastery of Krekhiv the portrait of the hegumen Vitalii Hradiuk performed by Yu. Butsmaniuk was found. A detailed study of this work showed the ability of the author to skillfully convey the emotional state and characteristics of the person. The authorship of Yu. Butsmaniuk in the process of studying the images of the triptych “The Holy Heart of Christ”, which is located in the side altar of the Church of St. Yura in Yavoriv, is defined. The discovered works were introduced to scientific circulation. The study of technical and technological features of the painting by Yu. Butsmaniuk made it possible to study the master’s painting technique, the choice of materials, and sequence of works. For the first time the author’s handwriting, formal means, and technology of the executed works are analyzed. These achievements made it possible to comprehensively consider the artist’s monumental works. The distinguishing of individual traits of the artist’s creativity allows determining his authorship in the projects executed in collaboration with other artists. Studying the artistic heritage of Yu. Butsmaniuk, the work of such artists as M. Sosenko, A. Skrutok, K. Ustyjanovych, T. Kopystynskyi, K. Politynskyi, O. Kurylas, M. Osinchuk, P. Kovzhun, I. Yizhakevych, Y. Magalevskyi, A. Manastyrskyi and others, whose works allow determining the characteristic features and directions of the Western Ukrainian art of the first half of the 20th century are studied. The research of their works allowed the scientists to carry out a comparative analysis with Yu. Butsmaniuk’s works. Due to this, common signs of the contemporary artistic processes that took place in the whole region are revealed, the sources of inspirations of Yu. Butsmanyuk’s creativity are discovered, and their dependence on historical and political circumstances is established. The theoretical results of the presented study allow scientists to evaluate correctly the creativity of such a talented artist as Yu. Butsmaniuk and contribute to a deeper understanding of his monumental painting.