SEE THE DOME OF HEAVEN. THE CONCEPT OF THE ARTISTIC DECORATION OF THE PEDIMENTS OF THE GATE CHURCH OF THE TRINITY OF KYIV PECHERSK LAVRA

Abstract

The article is devoted to the interpretation of the meaning of the overhangs completed on the western and eastern pediments of the Gate Church of the Trinity of Kyiv Pechersk Lavra. It proposed to use the term «canopy» as the working name of these overhangs for their symbolic functions. The facades of the Trinity Church retain unique decorative elements created during the reconstruction in the 1720s – early 1730s – brick overhangs added to the western and eastern pediments. From above, the canopies are covered with a gilded roof, which, with its shapes, gives the whole structure the appearance of a fabric tent dome. This impression is enhanced by a hanging openwork edge that imitates a border with tassels. Initially, the overhang was an element of decoration used to decorate the facade of the Dormition Cathedral of Kyiv-Pechersk Lavra in the 1720s. The lack of architectural necessity and logic to use these overhangs gives reason to look for their appearance in the symbolic meaning of overhangs. The original paintings of the overhangs of the Trinity Church have not been preserved. But the iconographic tradition of their pictorial updates, the dedication of the church, and the entire system of pictorial decoration in the interior, including the iconography of the iconostasis, gives reason to believe that the overhangs contained a symbolic image of the Kingdom of Heaven as the Dome of Heaven with the Trinity and The Holy Spirit is at the center of the composition. Trinity Church can define as canopies. It corresponds to the character of their general architectural form and the composition «the Dome of Heaven» on the surface of the canopies, which illustrates the symbolic meaning of canopies as an image of the heavenly vault. The construction of canopies on the pediments of the Trinity Church created an additional emotional effect on the perception of the facade painting program. Their appearance corresponded to the general trend towards the spread of canopy in the church art of Ukraine in the first half of the 18th century.