Global Journal of Human-Social Science, A: Arts and Humanities, Volume 23 Issue 1

tradition, sacred monumental painting was formed and reached the highest aesthetic, artistic and spiritual development, which became a reflection of the Eastern Christian cosmos. The reverse perspective is inherent in the Byzantine style in monumental church painting as a religious art, it is thanks to its perception that the invisible, the background becomes the main one, that is, the sacred manifests itself, which by its nature is invisible. Thanks to the reverse perspective, consciousness begins to capture what cannot be clearly and logically understood. The main goal of icon painting is to transform reality, to reorganize space, bringing it to a higher level of integrity, characteristic of a work of art. At the same time, the very essence of the work, the integrity of a higher order, is here connected not with the individuality of the artist, but with the representation of the transpersonal sacred, which alone can stand behind the perfection of the created form 7 . It is worth paying attention to the article "Mikhail Boychuk and Svyatoslav Hordinsky: to the problem of artistic influence", in which the author says that "the Neo- Byzantine artists set themselves the goal of preserving intact the traditions of the religious art of Ukraine." "... In Byzantium, the artist saw the national roots of Ukrainian art", and also because of the prohibition of the Ukrainian Church on the family, they felt obliged to reproduce icon painting, "national iconography" as one of the factors of Ukrainian identit y 8 . That. the period of Ukraine's independence was marked by the search for the national and cultural identity of the Ukrainian people, which is also reflected in religious art. It should be noted that among the temples considered in the study, the Byzantine style is characteristic to a greater extent in monastic and Scythian temples, which can be explained by the desire of the abbots (customers of the painting) to follow the statutes of the ancient Byzantine traditions both in external and internal monastic life. The return to the Byzantine style in the monumental church painting of Ukraine in the mid- 2000s was also facilitated by the rapid development of religious tourism and the exchange of experience between masters. And in ancient times, pilgrimages to the shrines of Byzantium, Palestine, and Greece played an important role in the development of church art. According to icon painter Vladyslav Yushkov, Venerable Andrey Rublyov was in the Chora Monastery in Constantinople, and the style of his icon painting was primarily influenced by his visit to this monastery. 7 Tsugorka O. P. The sacred art of painting: a national scientific reflection // Bulletin of the National Academy of Managerial Personnel of Culture and Arts No. 4'2016. Р . 118. 8 Berehovska H. Mykhailo Boychuk and Svyatoslav Gordynskyi: to the problem of artistic influence / H. Berehovska // Ukrainian Studies. - 2012-2013. – No. 13-14. - P. 289-296. – Access mode: http://nbuv. gov.ua/jpdf/Us_2012-2013_13-14_33.pdf The development of the Internet and social networks contributed to the availability of information, the exchange of experience between masters and the opportunity for icon painters to follow any artistic pattern, both ancient and modern. V. R evival of I nterest in the F resco T echnique Despite the fact that most Orthodox churches in Ukraine at the end of the 20th and beginning of the 21st century were painted on dry plaster, during this period there is a revival of interest in a real fresco, which involves painting on wet plaster. After the moisture evaporates, the lime contained in the plaster forms a thin transparent calcite film, which makes the fresco durable. You can damage the fresco only by destroying the wall. In the fresco technique, for example, the Church of the Intercession of the Most Holy Theotokos in the Svyatogorsk Lavra is painted. Hieromonk Agapit was engaged in fresco painting in the Donetsk region. Icon painter Vladislav Yushkov, in one of his interviews, said that in the period of the late 20th - early 21st centuries, the fresco was especially widespread in the Balkan countries (Serbia, Bosnia). On the territory of Ukraine, he met a rural temple in the Zaporozhye region, painted in fresco technique. VI. T he I nfluence of the V isual T urn on the T emple P ainting The emergence of new trends in modern monumental church painting was influenced by visual culture. The culture of the beginning of the 21st century is predominantly described as visual. Modern visual research is a new field for studying the cultural construction of the visual in art, media and everyday life. Despite the fact that culture has always had a visual component, the shift in emphasis towards the growing importance of the “visual” is due to the hyperdevelopment and intensification of visual technologies, the spread of photography and television, and at the turn of the 20th-21st centuries, the emergence of new digital technologies and the Internet. The interpenetration of various types of fine arts and new digital technologies have provided new opportunities for expression in culture 9 . The visual turn was also reflected in modern monumental church painting: in the 21st century, murals of Orthodox churches in the 3D style began to appear, including on the territory of Ukraine (for example, the St. The temple is painted in the Baroque style, iconographic images are given volume, so people and the world are presented in three-dimensional space. 9 New visual cultu re in the media space / New visual culture in the media space URL: https://age-info.com/2019/06/new-visual-culture-in- mediapro/ (accessed 04/17/2021). © 2023 Global Journals Volume XXIII Issue I Version I 32 Global Journal of Human Social Science - Year 2023 ( ) A Features of the Programs of Murals of Modern Ukrainian Orthodox Churches