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The Specifics of Lighting of Restoration Objects (On the Example of Stave and Stone Church Structures)

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The Specifics of Lighting of Restoration Objects (On the Example of Stave and Stone Church Structures) DOI: 10.4467/25438700ŚM.17.056.7677 MYKOLAI ORLENKO*, JULIA IVASHKO** D. V. Malakov, O. G. Mokrousova, O. M. Drug, O. P. Serdiuk, flower-shaped lamps and lamps woven into G. S. Dukhovichny, T. V. Skibitska; sculptural water lilies. There are several ex- – studying and popularization of the Secession specific fea- planations for this: first, the Secession artists tures in Ukraine (Ukrainian Art Nouveau) were performed by adhered to the principle of avoiding using the The specifics of lighting D. P. Galagan, L. M. Zhemchuzhykov, O. G. Slastion, G. K. Lu- architectural heritage of past centuries; se- komsky, V. G. Krichevsky, K. V. Sherotsky, H. P. Serdiuk, cond, the very romantic, idyllic nature of Art K. M. Zhukov, D. M. Diachenko, M. G. Filiansky, S. P. Timos- Nouveau was encouraging this; thirdly, natu- of restoration objects henko, I. I. Trush, V. K. Trotsenko, D. V. Antonovych, I. I. Levin- ral sciences developed just in the late 19th – sky, V. E. Iasievich, V. V. Chepelik, G. S. Dukhovichny, T. V. Ski- early 20th centuries evolved bitska, V. V. Vechersky, V. F. Otchenashko; Many scientific sources (in particular, in (on the example of stave and stone – modern studies of the regional specificity of the Secession scientific works of K. Frempton, H. Fudzioki, of Ukraine are highlighted in the scientific works of Iu. S. Biriu- M. Speidel) contain the issue of a special role lov, J. V. Ivashko, V. V. Kodin, S. V. Bilenkova, L. K. Polischuk, of the Eastern, first of all, Japanese culture in church structures) M. M. Stakian. the establishment of the European Secession The causes of the Secession emergence in Ukraine on the (“Art Nouveau”) as an architecture and art sty- Abstract background of the historical situation in Ukraine of the late le [10, 11, 13]. According to D. V. Sarabianov The article deals with the specifics of lighting of stave churches of Ukraine and stone temples, erected or rebuilt during the 19th – early 20th centuries and impact of the external factors dialogue with the East, initiated by romanti- 19th century. It explains how the approach to the lighting of Orthodox churches changed during the Synodical period. The were highlighted by V. E. Iasievich, J. V. Ivashko, H. P. Ser- cism, continued by impressionists in painting Ukrainian experience of solving the issue of lighting of restoration and reconstruction objects was described. The specifics of lighting the interiors of church structures is illustrated by the examples of the Dormition Cathedral of the Kyiv Pechersk diuk, G. S. Duhovichny, T. V. Skibitska, Iu. S. Biriulov, S. V. Bi- and especially developed during the Seces- Lavra and the Saint Vladimir Cathedral in Chersonese. The specifics of lighting of restoration objects is based on the need lenkova, L. K. Polischuk and M.M. Stakian. Specificity of the sion period, was especially important for to combine the conformity to the authentic view of light fittings (according the photos from the archive) and modern lighting Secession as a style, features of this style manifestation in the Secession. Consequently, according to technologies, so in many cases light fittings are manufactured in the limited quantity under the author’s drawings. Ukraine as a whole and within individual centres, the Seces- D. V. Sarabianov, the artistic trends that prece- sion types with the description of typical objects were studied ded the Secession and, at the same time, the Keywords: lighting issues, restoration objects, stave and stone churches and cathedrals, authentic by V. E. Iasievich, Iu. S. Biriulov, H. P. Serdiuk, T. V. Skibitska, discovery of the Eastern culture formed the S. V. Bilenkova, L. K. Polischuk, M. M. Stakian. V. E. Iasievich historical preconditions of the Secession [7, revealed the Secession periodization – two periods, early and p. 41]. According to E. I. Kyrychenko, styliza- 1. Introduction The issues of the Secession research are re- late – and related them to schools in the certain cities. The tion allowed the Secession to address many It is a well-known fact that every significant historical era is duced to the following by different Ukrainian Secession centres in Ukraine were studied by V. E. Iasievich, different sources, including the Japanese art, distinguished by the specific architectural forms, a stable and foreign scientists: Iu. S. Biriulov, S. V. Bilenkova, L. K. Polischuk, T. V. Skibitska, not losing the integrity of style at the same system of functional, spatial, aesthetic characteristics which – cultural, aesthetic, artistic problems of the H. P. Serdiuk, M. M. Stakian, who classified the Secession time. She sees the influence of Japanese cul- are generalized by the notion of the era style. The era style European Secession, its unique phenomenon centres by location in the cities, determined the specifics of ture, discovered by the Europeans in the late is a notion that, beside architecture, covers a wide range of were studied by F. Shmalenbah, R. Shmuzler, the Art Nouveau centres within a single city. V. V. Chepelik 19th century, in flexible lines of shapes and ethical, aesthetic, artistic forms and reflects the level of the M. Reims, M. Pevzner, V. Hoffman, G.Yu. Ster- was the first researcher to introduce the term “Ukrainian Art the Art Nouveau decor (which is seen also society material and spiritual culture. nin, A. Borisova, V.G. Lisowski , V.S. Goriyu- Nouveau”, as the name of the main kind of the national–ro- in flexible lines of the Secession lamps, each The history of architecture is the history of consistent chan- nov, M.P. Tubli; mantic modernist style in Ukraine, and highlighted its specific of them being unique) [4, c. 215]. The ideo- ges of stylistics – the whole set of means of expression of ar- – causes of emergence, specifics of manife- features in detail. logical and artistic program of Japanese art chitectural forms, objectively comprising semantic features, station, style originality, periodization, compo- impressed the Secession as well. Europeans signs of architectural and artistic image. Just due to these sitional principles of the Secession, its innova- 2. Origins and specificity of the formation of Western saw the basic importance of Japanese art for properties architecture it is nearly the most reliable source tion, communication between the Secession European Secession and its manifestations in lighting Europe and the art and architecture of the Se- of objective information about the history of civilization and centres in different countries, Art Nouveau devices cession in the Japanese art was based on the culture. elements were studied by G.Yu. Sternin, The Secession symbolism in the countries of Western Euro- unity with nature. According to M. Voloshin, The architecture of the Secession of the late 19th – early 20th E. A. Borisova, J. V. Ivashko, E. I. Kyrychenko, pe and the Russian has much in common: first of all, it is acquaintance with Japanese art developed in centuries attracts the attention of various scientific specialists D. V. Sarabianov, V. G. Lisovsky, V. V. Kyrylov, the opposition of rational and irrational, sublime and earthly, European artists the aspiration for schematics not just by chance. Just the very style of the Secession be- M. V. Nashchokina, A. A. Berseneva, O. V. Orel- beautiful and ominous, life and death, which can be clearly and generalization without following the es- came the sign of the era, nearly the highest rise of economy ska, S. Grosa, S. S. Levoshko, O. B. Ushakova, seen in poetry, philosophy, art, and architecture [1, 2, 3]. The tablished rules and dogmas [4, c. 217]. Orien- and culture, the architectural and town–planning activity of G. A. Parkhomenko; principal motto of this Secession became turning the useful tal (in particular, Japanese) art quickly spread the time of formation of developed capitalism with its ambi- – analysis of the impact of external factors into the beautiful. At its early stage, the Secession was cha- in the USA and Europe in the 1850s under the tions, material and technical and financial capabilities which and interstyle processes, the connection of racterized by highlighted decorativeness, which was espe- influence of the certain political events, social stimulated investment processes in construction, favoured the Secession with other styles are repre- cially expressed in the design of interior items, in particular, and spiritual circumstances. the development of art, in particular, decorative, monumen- sented by the works of G. Yu. Sternin, E. A. in lighting devices, which acquired the unique features of the M. V Nashchokina also drew attention to tal, applied, arts related to the formation of the objective–spa- Borisova, J. V. Ivashko, V.G. Lisovsky, V.S. Go- works of art. Later, the style supporters started defending the the presence of Orientalism in the Seces- tial environment of human life activities. riunov, M. P. Tubli, O. V. Orelska, G. A. Park- form-creating value of design and material, and the functio- sion; she noted that the beginning of inte- It has been frequently said that the Secession was the last homenko; nal and constructive basis of buildings started acquiring the rest in Oriental art began from de Goncourt style with the highly expressed artist’s individuality. Manife- – historical descriptions of the Secession obje- style-forming sense. brothers. She emphasized that in many ways stations of the style uniqueness and originality are traced at cts, biographies of architects were studied by The nature becomes the source of development of the inte- Orientalism favoured the development of different levels, which explains the fact why the professionals J. V. Ivashko, V.G. Lisovsky, B. M. Kirykov, S. S. rior objects in the Secession, which leads to the emergen- the Secession aesthetics through borrowing are so much interested in this style. Levoshko, O. B. Ushakova, M. V. Nashchokina, ce of mushroom-shaped stained glass lamps and chimerical the figurative language elements of oriental * Ph.D.
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