| Popis: |
An important role in promoting and affirming of cultural achievements of Western civilization in Ukraine and of the artistic heritage of the Baroque period was played by representatives of Roman Catholic religious orders: Jesuits, Dominicans, Franciscans, Carmelites, Capuchins, Piarists and etc. Although this work was the part of their missionary activities aimed at implementing of postulates of potrydenska reform, it also became a significant factor in the deployment of the process of intensive development of Ukrainian art, including the organic combination of its ancient Byzantine traditions with Western artistic influences. Indicative in this respect was the artistic component of the Roman Catholic Order of Piarists work in Volhynia during the late seventeenth — early nineteenth century. The architectural complexes of religious centers of Piarists in Volhynia, which traditionally included the building of the monastery, church and collegium, were built for projects of outstanding architects of that time. The artistic decoration of their interiors was performed by talented foreign artists. Therefore, the order of Pia- rists religious sites in Volhynia were vivid examples of the embodiment of the best achievements of Western European late baroque architecture. However, the artistic achievements of the Roman Catholic monastic orders on the territory of Ukraine, including the Order of Piarists in Volhynia, for a long time deliberately leveled at first by the Russian autocracy, and later by the Soviet authorities. Thus, in Soviet times, many books were ordered about Roman Catholic Orders in the world and a lot of them were published, that were far from the truth on the basis of fabricated false ideological stamps. Since they were simultaneously cultivated in cinema, fiction, they were firmly entrenched in the minds ofpeople of several generations. These “revealing” stereotypes gradually poisoned the spiritual climate in society and distorted many pages of the history of the Church in Ukraine. At the same time, one of the consequences of this was that “In the darkness of the past, the names of domestic and invisible artists from other countries were created — the creators of the sacred space of Catholic temples ”, which eventually led “to erase in the consciousness of people the value of a gigantic product in the history of domestic art” [8, p. 9—10]. Nowadays, in the national art studies, the process of rethinking of the artistic achievements of the Roman Catholic monastic orders on the territory of Ukraine is actively and fruitfully taking place. One of the manifestations of this is that the problem of protecting and preserving their prominent architectural objects, which are still to be rescued, becomes more and more urgent. It is possible to include to them the religious structures of the Roman Catholic monastic order of Piarists in the Volhynia region, whose operation on the modern day is a vivid example of the indifferent attitude of the state to monuments of European-level architecture. Objectives. The purpose of the article is to find out the circumstances of the origin and existence of the sacred art monuments of the order of Piarists in Volhynia, their characteristics of architectural and spatial construction and the artistic and compositional principles of the organization of the interior space, as well as the state of their preservation at the present stage. Methods. The methodology of the study is based on the visual analysis of the religious buildings of the Piarists order in Volhynia, analytical and art-study methods of research, as well as the systematic approach, in particular, the article uses the factual material of the works of Polish authors. Results. As a result of the study of the circumstances of the rise andfunctioning of the three religious buildings of the Roman Catholic order of Piarists in Volhynia during the end of the 17th — the first third part of the 19th century it was discovered that the construction and artistic filling of the sacred space of the Piarists’ churches in Volhynia occurred under the influence of the West-European traditions of Baroque and Rococo. The vicissitudes of their destiny in the twentieth century were discovered, namely, that they, being restored during the Second Polish—Lithuanian Commonwealth, experienced the greatest destruction in the history in the Soviet era. The contemporary realities of the sacred art monuments of the Piarists order in Volhynia are considered, from which it follows that now only one of their former church is in a satisfactory condition, the second one is in ruins, and the third is completely lost. Conclusions. The architectural complexes of the monks of the Roman Catholic order of Piarists in Volhynia — in Dubrovytsia, Liubeshiv and Mezhirichi Koretski, were built by well-known architects in baroque and rococo styles, as well as their interiors, to which the outstanding Western European artists were involved in decorating, became one of the links of a peculiar cultural and art chain that united a part of the inhabitants of the Vol- hynia region with the European cultural space, including, in particular, the latest construction technologies and widespread techniques and frescoes in contemporary Western European art painting. The study and popularization of the sacred memorials of the order of Piarists in Volhynia, as well as many other abandoned and forgotten in the territory of modern Ukraine the cult buildings of the Roman Catholic monastic orders — unsurpassed monuments of domestic culture, have not only a significant memorial and guard, but also national importance, as it prompts to comprehend the originality of the historical path of Ukraine and acts as one of the catalysts for the formation of the national consciousness of the Ukrainian people. |
