WALL PAINTING OF THE TRINITY GATE CHURCH OF THE KYIVPECHERSK LAVRA IN THE CONTEXT OF THE DEVELOPMENT OF AESTHETIC BAROQUE TRENDS

Abstract

The modern uplift of national self-awareness and identity focuses on addressing, rethinking the culturalhistorical and artistic processes of the past, as well as the need to promote the artistic heritage of Ukraine in the world artistic space. The purpose of the article is to analyze the features of the monumental paintings of the Trinity Gate Church of the Kyiv-Pechersk Lavra from the point of view of the development of baroque aesthetics and the mutual influences of various types of art. The research methodology is based on general scientific methods and approaches, including: dialectical, systemic, structural and functional, artistic analysis method. The unprecedented rise of culture and art, which began in Ukraine in the second half of the 17th century thanks to the spread of baroque trends, was characterized by the creation of lavishly decorated architecture, interiors and household items with florid monumental paintings. A classic example of the “golden age” of the Ukrainian Baroque, preserved to this day, is the ensemble of frescoes of the Trinity Gate Church of the Kyiv-Pechersk Lavra, which imprinted on its walls the essence and versatility of the “capricious” style. It was found that, saturated with national colour, the monumental paintings of the Trinity Church acquire originality and uniqueness thanks to the synthesis and interaction of different types of art: visual, decorative and applied, graphic. Conclusions. Embodying the entire spectrum of worldview, moral values and aesthetic demands of society, the wall painting of the Trinity Church became a model of the artistic thinking of its time. The formation of aesthetic principles took place in the paradigm of the promotion of humanistic ideas in all spheres of culture and the understanding of nature as a collection of mysterious signs and symbols inherent in baroque thinking.