MEMORY PERPETUATING IN GRAVESTONE PORTRAITS AS ATTRIBUTE OF THE COSSACK ELITE’S FUNERAL CULTURE OF THE SECOND HALF OF THE 17th-18th CENTURIES

Author (s): Popruzhna A.

Work place:

Popruzhna A.

Ph. D. in History,

Associate Professor of the Department of Economics and Social Disciplines,

Academy of the State Penitentiary Service, Chernihiv, Ukraine

Language: English

Scientific Herald of Sivershchyna. Series: Education. Social and Behavioural Sciences 2020. № 1 (4): 137–152

https://doi.org/10.32755/sjeducation.2020.01.137

Summary:

The article deals with the gravestone portraits of the representatives of the Cossack Elite of the second half of the seventeenth and eighteenth centuries as the attributes of its funeral culture. The purpose of the article is to analyze the mechanisms of memory perpetuating and honoring of the dead representatives of the Cossack Elite, ascertaining the role of local traditions and external influences in the formation of the Cossack Elite’s funeral culture of the second half of the 17th-18th centuries. Gravestone portraits studying will contribute to a better understanding of a funeral culture as a social and cultural phenomenon of the early modern era that included preparation for death, mourning ceremonies, and memory perpetuating and honoring of the deceased. It was concluded that the representatives of the leading social stratum of the Hetmanate had ordered the gravestone portraits when they were alive, following the superstition to portray the face of the portrayed person after his death. The gravestone portraits could also be ordered by relatives after the death of a person. The use of the portraits in the mourning ceremony was a way of memory perpetuating and an occasion to recall the charity of the deceased.

Key words: funeral culture, Cossack Elite, a gravestone portrait.

References

  1. Adrug, A. (2013), Painting of Chernigov of the second half of XVII – early XVIII centuries,
  2. Bileczkyi, P. O. (1969), Ukrainian portrait painting of the XVII–XVIII centuries: Problems of formation and development. Mystecztvo, Kyiv.
  3. Horlenko, V. (1882), “Old Little Russian Portraits”, Kyevskaya staryna, № 10, pp. 602–606.
  4. Gava, O. (2007), “Cossack portraits in the funds of the Odessa State History and Local History Museum”, Chornomorska mynuvshyna. Zapysky viddilu istoriyi kozacztva na Pivdni Ukrayiny, Feniks,Odessа, pp. 184–185.
  5. Dmytriienko, M., Pokhodiashcha, O. (2010), “Portrait painting as a source of genealogical research by O. M. Lazarevskyi”, Specialni istorychni dyscypliny: pytannya teoriyi ta metodyky. Genealogiya ta geraldyka. Zbirka naukovyx pracz, № 1, рр. 95–110.
  6. Zverkhovska, A. (2006), “Ukrainian portrait in the National Art Museum”, Kupola, №3, рр. 70–73.
  7. Ivanova, B. (2005), “Medieval components in the structure of the pictorial portrait at the dawn of the New Age in the countries of Eastern and South-Eastern Europe”, Acta Slavica Iaponica, № 22, рр. 215–237.
  8. History of Rus (1991), Veselka, Kyiv.
  9. Pictures of the church life of the Chernihiv Diocese from the 9th century’s history (1911), Typography S. V. Kulzhenko, Kyiv.
  10. “To the portrait of Savva Grigorievich Tuptalo” (1882), Kyevskaya staryna, № 7, рр. 194–198.
  11. Kosiv, R. (2009), Ukrainian gonfalons XVII–XVIII centuries, Oranta, Kyiv.
  12. Kovalova, M. (2009), “Orthodox traditions in the Cossack portraits of Central and Eastern Ukraine in the late XVII–XVIII centuries”, Artistic сulture: actual problems,№ 6.
  13. Lazarevskyi, O. (1882), “Miklashevsky”. Kyevskaya staryna, № 8, рр. 243–244.
  14. Lazarevskyi, О. (1894), “General Oboznyi Vasyl Dunin-Borkovskyi 1640-1702: To the portrait”, Kyevskaya staryna, № 3, рр. 530–536.
  15. Lazarevskyi, O. (1894), “Historical trivia”, Kyevskaya staryna, № 5.
  16. Lazarevskyi, O. (1882), “Old little Russian portraits”, Kyevskaya staryna, №5, рр. 337–342.
  17. Lazarevskyi, O. (1882), “Old little Russian portraits”, Kyevskaya staryna, № 10, рр. 173–174.
  18. “Men’s Monasteries” (1873), Historical and statistical description of the Chernigov diocese,
  19. Netudykhatkin, I. (2010), “Reverence of religious patrons in the Orthodox churches of Kyiv and Left Bank Ukraine in XVIII–XIX centuries: regulatory and legal aspects”, Gileya: naukovyj visnyk: Zbirnyk naukovyx pracz, № 36, рр. 5–9.
  20. Ogloblyn, O. (1960), Hetman Ivan Mazepa and his er, New York.
  21. Osadcha, Yu. (2005), “Portraits of historical figures of the Cossack era in the collection of the Dnipropetrovsk National Historical Museum named after. D.I. Yavornytsky”, Grani, № 5, рр. 107–110.
  22. Pokhodiashcha, O. (2011), “The influence of the church on the development of Ukrainian portrait painting in the seventeenth and eighteenth centuries”, Ukrayinoznavstvo, № 3, рр. 78–82.
  23. Pokhodiashcha, O. (2013), “Prior to the history of the trunk line in honor of V. Kochubey and І. Iкskra”, Novi doslidzhennya pamyatok kozaczkoyi doby v Ukrayini: Zbirnyk naukovyx pracz, Кyiv, № 22 (2).
  24. Procenko, L. (1995), “Burial of the Kiev-Pechersk Lavra”, Kyyivska starovyna, № 2, рр. 18–41.
  25. Puczko, V. G. (2008), “Portraits of Tobolsk Metropolitan John Maximovich”, Problems of the history of Russia, Ekaterynburg, № 2, рр. 258–264.
  26. Semeniuk, D. (1997), “Collection of nude portraits from the funds of the Lviv Historical Museum”, Naukovi zapysky Lvivskogo istorychnogo muzeyu, Lviv, рр. 48–61.
  27. Soloviy, O. (1917), “Before the history of Ukrainian painting on the cob of the eighteenth century”, Ukraine, № 1, рр. 100–114.
  28. Shafonskyj, A. (1851), Chernigov subdistrict topographical description with a brief geographical and historical description of Minor Russia, of which parts of the same homeland is composed, 1786.
  29. Storozhenko, A. (1882), “Old Little Russian Portraits”, Kyevskaya staryna, № 9, рр. 577–579.
  30. Storozhenko, M. (1890), “The portraits of Pryluky Colonel Ivan Storozhenko and Bunchuk Comrade Hryhorii Storozhenko”, Kyevskaya staryna, № 4, рр. 167–173.
  31. Sukhovarova-Zhornova, O. (2004), “Typological characteristic of historical portraits of the XVII–XVIII centuries”, Specialni istorychni dyscypliny: Pytannya teoriyi ta metodyky: Zbirnyk naukovyx pracz, № 11, рр. 244–278.
  32. Tananaieva, L. (2008), “Gravestone portrait in the lands of the Polish-Lithuanian Commonwealth XVI–XVII centuries”, Kategoryy zhyzny y smerty v slavyanskoj kulture, Moscow, рр. 69–92.
  33. Ukrainian portrait of the XVII–XVIII centuries: Catalog-album (2006), Kyiv.
  34. Shherbakivskyi, D., Ernst, F. (1925), Ukrainian portrait. Exhibition of the Ukrainian portrait of the XVII–XX centuries,
  35. Shyrotskyi, K. (1914), “Something about old portraits”, Syajv, №4–7, рр. 198–202.
  36. Chroscicki, J. (1974), Pompa funebris. Z dzejow kultury staropolskie.

[collapse]

Full text .pdf

©2024. Penitentiary academy of Ukraine