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

It should be noted that the 3D effect is used to increase the space, but the saints are not depicted in volume, but in the canonical Byzantine style. Thus, the painting remains canonical, modern innovations in monumental art concern the form, but do not affect the essence. Analyzing the phenomena of visual culture, William Mitchell interprets the influx of images inherent in modernity as a "pictorial turn" and notes that the bias towards the visual, there is some return to the mythology of technologically advanced culture s 10 . Roland Barthes, in turn, believes that mythology is created by man in order to give meaning to the world around hi m 11 . As a result, the dominance of new means of communication changes the essence of perception, which ultimately leads to a change in ideas about reality. In other words: "The essential effects of technology are not reduced to direct sensory influences, but affect our entire perception of the world " 12 . Plotinus quite insightfully said about this: “Every soul is and becomes what it contemplates” (Plotinus IV 3, 8, 15 ) 13 . On the significance of the iconic turn for the perception of reality, Valery Savchuk writes that, surrounding ourselves with images, «We are “numb before the image”, we communicate with images, we finally think in images, “forgetting” about the linguistic nature of reality» 14 . According to the results of a study of visual rotation conducted by V. V. Savchuk, “the iconic rotation shifts the focus of attention from what the image represents besides itself, or rather through itself, to what it represents. In other words, the image has a structure, construction, it has cultural mechanisms of formation and conditions of existence 15 . The study by A. S. Reutov states that the significance of the visual turn lies in "the fundamental role of the visual image in the construction of reality and the increasing theoretical interest in the latter" 16 . Thus, in the modern world, visuality becomes a formative basis in culture. The consequence of the visual turn was the reorientation of the study of various kinds of phenomena associated with the visual in culture. The visual turn was reflected in the monumental church painting. Based on the conclusions made by 10 Mitchell, W.J.T. Picture Theory. Chicago: University of Chicago Press. 1994. P. 76. 11 Bart R. Camera lucida. Commentary on the photo. Moscow: AD Marginem Press. 2011, p. 53. 12 Taylor P. Pattern Recognition and Rapidly Changing Capitalism: What the Literature Says to Flow Theorists // Hora. 2008. No. 1. P.31. 13 Savchuk V. V. Philosophy of photography. St. Petersburg: Academy of Cultural Research. 2015. р . 28. 14 Savchuk V. V. Philosophy of photography. St. Petersburg: Academy of Cultural Research. 2015. р . 28. 15 Savchuk V. V. Philosophy of photography. St. Petersburg: Academy of Cultural Research. 2015. р . 50. 16 Reutov A.S. Visual studies of modern culture: a phenomenological aspect: Abstract of the thesis. cand. dis. N. Novgorod. 2018. р . 23. Roland Barthes and V. V. Savchuk, it can be assumed that the reason for the emergence of monumental church painting in the 3D style is the desire to attach special (greater) importance rather to the visual iconographic images themselves than to the ideas to which these images refer. The iconographic plots used in the painting of an Orthodox church are largely based not only on the texts of the Holy Scriptures, but also on hymnography (liturgical texts). Since a person concentrates on the image itself, here too one can speak of a transition from a linguistic turn to an iconic one. The transition from two-dimensional to three- dimensional space in church painting can be interpreted as emphasizing the importance of the inner space of the Orthodox church itself and a greater sacralization of this space. That is, there is a certain transition from the perception of the temple as a symbol of "heaven on earth" to the approval of its sacralization, to some extent there is also a "transfer" of the object of faith from the invisible world to the visible. The use of 3D in temple murals, on the one hand, is due to the desire to give greater meaning to iconographic images and plots, on the other hand, it ties the viewer's attention to these images themselves, transferring from the speculative to the visual. VII. C onclusion Among the modern trends inherent in the monumental painting of the churches of the East of Ukraine, painted in the late XX - early XXI century, there are general trends characteristic of the painting of Orthodox churches of this historical period, built both on the territory of Ukraine and on the territory of other countries (the emphasized importance of the dedication of the temple, interest in the Byzantine icon-painting style and fresco, the influence of the visual turn on church art), and the individual characteristics inherent in the temples of this region, associated primarily with the creative decisions of icon painters and customers in the preparation of murals programs. The examples of programs for painting modern Orthodox churches that we have considered made it possible to determine how their formation is influenced by the following factors: the dedication of the temple, the cultural and historical situation, liturgical texts, the features of the internal architecture of the temple, the wishes of the customer, the desire to highlight the most revered saints. Since periodically new saints glorified by the church appear, this is reflected in the temple painting. In this regard, it is permissible to somewhat change the old iconographic plots, adding to them the newly glorified saints. The unusual architecture of the temple, which forms its internal space, can serve as a source for a creative approach to drawing up a program for its painting. The art of an icon painter is not an end in Volume XXIII Issue I Version I 33 Global Journal of Human Social Science - Year 2023 ( ) A © 2023 Global Journals Features of the Programs of Murals of Modern Ukrainian Orthodox Churches