SACRED SONGS IN GLORIFICATION OF KIEV-CHERNIHV ICONS OF THE MID TO SECOND HALF OF THE XVII C.: SOURCE-TEXTOLOGICAL AND HISTORIOGRAPHIC RESEARCH ISSUES
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 20, Issue 2
Abstract
The songs in honour of miracle making Ukrainian icons is a very interesting field of the national artistic-religious culture. In these songs reflect the sovereignty of Ukrainian lands. Over a hundred songs glorifying miracle-making icons of the Mother of God from Polisia, Galicia, Volhynia, Transcarpthia, Slobozhanshchyna. The practice of the creation of these songs was initiated in Polisia. A much less number of such songs survived in Kiev and Chernihiv regions, but they represent unique examples of the phenomenon of Ukrainian early baroque sacred song creation process. Furthermore, many historic events are reflected in these songs due to the fact of their functioning in the cathedrals and churches of Kiev, Chernihiv, Novhorod-Siverskyi, and other regions of the country. In some texts of these songs the Ukrainian hetmans and other famous figures of that time (like Ivan Mother, Uliana Hol’shans’ka-Dubrovytska, etc.), who did a lot for honoring of Ukrainian miracle-making icons (Yelysei Pletenets’kyi, Dmytro Typtalo, later also Mytropolitan of Rostov, and others). These texts were written in handwritten song books, which are now stored in archives and libraries in Kyiv, L’viv, Moscow and St. Petersburg. Several handwritten collections also contain musical texts. It is characteristically that some songs in honor of icons from Polisia in the 18th and 19th centuries became known in Volhyn`, Halychyna (Galicia), Tran- scarpthia, even in eastern Slovakia and Vojvodina (Serbia). In these regions the poetry songs from Kyiv and Chernihiv regions were adapted to glorify the local miracle-making icons that were kept in the temples of these lands. It is also inter- esting that none of the Kyiv-Chernihіv songs was included in the “Bohohlasnyk”. On the verge of 19th–20th centuries I. Franko and M. Voznyak have shown an interest in some texts. However, most of the texts in this article have been analyzed for the first time, and their individual textual fragments have been presented.
Authors and Affiliations
Jurij MEDVEDYK
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