38. Architecture of Cossack Baroque

There are two traces of Baroque architecture in Ukrainian lands. The first one is evident in Lviv because of its geographical and cultural location in Polish-Lithuanian Commonwealth in that period. Western-European stylistic features are in Church of St. Peter and Paul (1610–1630), the first, became a model for the Church of Purification (1642–1644) and Ascension Catholic Church in Rudki (1728). Buildings in central and north-eastern Ukraine are usually attributed to proper Ukrainian (or Cossack) Baroque. Cossack Baroque architecture emerged during the Hetman era of the XVII–XVIII centuries as a representation of Cossack aristocracy. Its distinctive features were: more constructivist design, more moderate ornamentation, simpler in form comparatively to Western European principles of art. Examples of Ukrainian church architecture are: Trinity Cathedral of the Chernigov Trinity Monastery (1679), the Church of St. Catherina in Chernigov (1715), Holy Ascension Cathedral in Pereyaslav-Khmelnitsky (1695–1700), Nikolay Military Cathedral in Kiev (1695). Many medieval Rus churches were significantly reconstructed and expanded in Baroque motives: church domes and exterior and interior ornamentation were added (Kiev Cave Monastery, Vydubichi Morastery, Pochaiv Monastery, St. Sophia Cathedral in Kiev). Secular Baroque architecture is signified by transition from castles to palaces, the process which started in Renaissance Ukraine. Baroque palaces of Ukraine are Mariinskiy (1750) and Klovsky (1756) in Kiev, Kachanivka near Chernigov (1770s), Sofiivka upon Kamianka (1796).

Ukrainian baroque architecture was representative of the lifestyle of the kozak aristocracy. At that time most medieval churches were redesigned to include a richer exterior and interior ornamentation and multilevel domes. The most impressive exponents of this period are the bell tower of the Pechersk Monastery and the Mariinsky Palace in Kyiv, Saint George's Cathedral in Lviv, and the Pochaiv Monastery. A unique example of baroque wooden architecture is the eighteenth century Trinity Cathedral in former Samara, built for Zaporozhian kozaks. The neoclassical park and palace ensemble became popular with the landed gentry in the late eighteenth century. Representative samples are the Sofiivka Palace in Kamianka, the Kachanivka Palace near Chernihiv, and the palace in Korsun'-Shevchenkivskyi.

39. Baroque style in Europe

Baroque is an artistic style prevalent from the late 16th century to the early 18th century in Europe.^[1] It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric".^[2]The popularity and success of the Baroque style was encouraged by the Roman Catholic Church, which had decided at the time of the Council of Trent. The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence.Beginning around the year 1600, the demands for new art resulted in what is now known as the Baroque. The canon promulgated at the Council of Trent (1545–63) with which the Roman Catholic Church addressed the representational arts, rooted in the Protestant Reformation, by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed, is customarily offered as an inspiration of the Baroque, which appeared, however, a generation later.The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic. Baroque art drew on certain broad and heroic tendencies in Annibale Carracci and his circle, and found inspiration in other artists such as Caravaggio, and Federico Barocci nowadays sometimes termed 'proto-Baroque'Some general parallels in music make the expression "Baroque music" useful. Contrasting phrase lengths, harmony and counterpoint ousted polyphony, and orchestral color made a stronger appearance. Similar fascination with simple, strong, dramatic expression in poetry, where clear, broad syncopated rhythms replaced the enknotted elaborated metaphysical similes employed by Mannerists such as John Donne and imagery that was strongly influenced by visual developments in painting, can be sensed in John Milton's Paradise Lost, a Baroque epic.^{[citation needed]}In paintings, Baroque gestures are broader than Mannerist gestures: less ambiguous, less arcane and mysterious, more like the stage gestures of opera, a major Baroque artform. Baroque poses depend on contrapposto ("counterpoise"), the tension within the figures that moves the planes of shoulders and hips in counterdirections. It made the sculptures almost seem like they were about to move.

40 Prominent cultural activists of the 17^th century (K.V.Ostrozky, L.Baranovych)\

Baranovych, Lazar , 1593–1694; according to other data, 1620–93. Ecclesiastical, political, and literary figure, professor (1650) and rector of the Kyivan Mohyla College, and archbishop of Chernihiv from 1657. He founded schools and monasteries. In 1674 he established the Novhorod-Siverskyi Press, which in 1679 was moved to Chernihiv. He defended the independence of the Ukrainian clergy from the patriarch of Moscow. His sermons, written in a baroque style, were published in Mech dukhovnyi (The Spiritual Sword, 1666) and Truby sloves propovidnykh (The Trumpets of Preaching Words, 1674). He is the author of several polemical works against Catholicism in Polish and Ukrainian; of a poetry collection in Polish, Lutnia Apollinowa (Apollo's Lute, 1671); and of a large correspondence.

Ostrozky, Kostiantyn Vasyl, b 1526 or 1527 in Dubno, Volhynia, d 23 February 1608 in Ostrih, Volhynia. Ukrainian nobleman and political and cultural figure; the son of Prince Kostiantyn Ostrozky; starosta of Volodymyr-Volynskyi and marshal of Volhynia from 1550, voivode of Kyiv from 1559, and senator from 1569; the most powerful magnate in Volhynia and one of the most influential figures in the Lithuanian-Ruthenian state and Polish-Lithuanian Commonwealth. He was a candidate for the Polish throne after the death of Sigismund II Augustus in 1572, and for the Muscovite throne after the death of Tsar Fedor Ivanovich in 1598. Ostrozky defended Ruthenian (Ukrainian and Belarusian) political rights and was the de facto leader of Ukraine in the negotiations leading up to the 1569 Union of Lublin, during which he demanded that Ruthenia be treated as an equal partner of Poland and Lithuania. A generous patron of Ukrainian culture and an ardent defender of the Orthodox faith, he organized and led the resistance to the 1596 Church Union of Berestia. Although he was not opposed in principle to Orthodox-Catholic unification, he felt that it had to be an open, ecumenical process involving secular church patrons, not just a secret clerical accord.

Ostrozky was an important figure in the 16th-century Ukrainian cultural and national rebirth. He established schools in Turiv (1572), Volodymyr-Volynskyi (1577), and Ostrih (1590), but is best known for founding the Ostrih Academy (ca 1576), the Ostrih Press (ca 1578), and the press at the Derman Monastery (1602). The Ostrih Bible (1580–1) was printed under his patronage by Ivan Fedorovych (Fedorov). Ostrozky had close contacts and corresponded regularly with leading defenders of the Orthodox faith, such as the Lviv Dormition Brotherhood, Prince A. Kurbsky, and Bishop Hedeon Balaban. Although he helped to suppress the popular uprising led by Kryshtof Kosynsky in 1593, he did little to contain the uprising led by Severyn Nalyvaiko in 1594–6, and he maintained relations with the Ukrainian Cossacks; for those reasons he was condemned by the Polish nobility.