Church of the Holy Spirit
The wooden Church of the Holy Spirit (originally St. Borys and St. Hlib) in Potelych is one of the masterpieces of Ukrainian sacred art. The church was built in 1502 (according to some sources, 1555) and is the oldest wooden church in Ukraine. The founder of the church was a local pottery shop. The church is harmonious in architecture, three-dimensional, two-story, covered with shingles. The church's decoration is its mural paintings of the 1620s and 1640s, which can be seen in the nave and the Babynets. The mural is one of the oldest preserved in the wooden churches of Ukraine. The mural compositions are distinguished by their unique arrangement and emphasis on individual scenes and images: Our Lady of the Caves, the Exaltation of the Holy Cross, the Assumption of the Virgin Mary, and the Lamentation of Christ. The interior of the church is decorated with icons of the 17th-19th centuries. In the altar space there is an iconostasis of the 17th century. The upper tiers of the iconostasis are painted on the eastern wall of the nave (redrawn in the 19th century).
Church of Archangel Michael
In 1715, the previous wooden church in the village burned down and a wooden church from the village of Hlynske was moved to its place. V. Slobodyan, a researcher, discovered the date on the wall of its nave – 1508 (a chemical study of the wood should confirm or refute this dating). The same sensational is the high iconostasis of the church, the upper tiers of which date from the mid-second half of the 16th century. It is an example of the oldest act of Prayer, painted on the same board with festive icons by a highly professional anonymous master. The crown icons, created in the 1680s, belong to the heritage of Zhovkva masters, known for the high professional level of their works. In particular, the author of the icon of St. Nikolas of 1687 is called Ivan Rutkovich, the leading master of this center.
Church of the Archangel Michael
The church was built in 1598. It is wooden, one-tiered, three-part, with harmonious proportions. The interior of the church is magnificently decorated. The icons for the high five-tiered iconostasis were created in 1655, 1680, 1688–1699. The holy (royal) doors date back to 1665. The icons of the two lower tiers of the iconostasis, painted in 1655, are probably the work of a Lviv master. The deacon's doors, "Last Supper", icons of the Order of Prayer and the prophetic tier were painted by the famous Zhovkva master Ivan Rutkovych, who left his signature there twice. On the eastern wall of the nave, a wall painting from the 1610s, similar in style to the paintings of the Church of the Holy Spirit in Potelych, has been preserved. The church has also unique icons of the 16th–19th centuries, which are located on the walls. The building and its iconography belong to the best examples of church art in Ukraine.
Church of the Sacred Heart of Christ
It is a valuable monument not only from the architectural point of view and the artistic performance of the wall painting, but also as a symbol of invincibility of the Ukrainian idea. The church was built at the beginning of the 20th century, according to the project of an architect Edgar Kovach, professor of Lviv Polytechnic. The paintings of the interior were made by an artist Yuliyan Butsmanyuk during 1910–1911 (Chapel of the Intercession) and 1932–1939 (the main church). They are an example of Ukrainian church art in the Secession style, which reflects not only the biblical story, but also the history of the Ukrainian people. Figures of the Ukrainian state, the army, and the Church are represented in the scenes "Beresteyska Union" and "Protection" ("Act of Zluka"). In the compositions of the wall painting, there is a symbol of the Ukrainian state - the trident, the coats of arms of the Galician and Lviv lands, and the saints of the Ukrainian people.
Church of the Holy Trinity
The church was built in 1928-1936 by Alexander Pezhansky. It is a stone, five-story, cross-domed church.
Built in 1928-1936 in the village of Potelych in the Zhovkva district, a large brick church of the Holy Trinity was built by the efforts of the village's parish priest Mykhailo Dorotskyi and at the expense of parishioners. The building is one of the best realized projects of the famous Lviv architect Oleksandr Pezhansky. The windows of the church are decorated with stained-glass windows and lattices in the Art Deco style, designed by O. Pezhansky. The carved furnishings in the interior and the stone figures of Volodymyr the Great and Olga on the facade of the church were made by Andriy and Mykola Koverki.
Church of the Placing of the Girdle of the Most Holy Mother of God
The church was built in 1886–1888 according to the project of the Ukrainian architect Sylvestr Havryshkevych, a member of the Polytechnic Society in Lviv, a construction advisor in the Galicia Governorship. Brick, single-domed. The architecture of the church combines the neo-Byzantine cross-dimensional spatial composition with neo-Romanesque decoration elements. In the interior, the building is spacious and light, with a mural by the famous artist Kornylo Ustyyanovych, painted in an academic manner (the mural is partially repainted). The artist's signature and the date – 1895 have been preserved in the right shoulder of the church. Apparently, Ustyyanovych was also the author of the icons of the high five-tiered iconostasis (some icons were repainted). The interior decoration of the church demonstrates an example of a complex professional solution, typical for the last decades of the 19th century in Galicia.
Church of the Intercession of the Holy Mother of God
The modern wooden church was built in 1928 by the carpenter-builder Vasyl Dmytriv according to the project of an architect Lev Levynskyy. The building impresses with the perfection of its forms and the pyramidal plasticity of the layout of the volumes. Here, tradition is harmoniously combined with modern creativity, the principles of Eastern and Western sacred construction are combined. Traditionally, the main log cabins are crowned by three domes, and large cupolas grow between the tops. The identity of the forms of the domes and cupolas creates the impression of a multi-tiered church. The interior decoration is distinguished by a holistic concept of creative design: the unpainted wooden timbers of the walls harmonize with the stylish carvings of the iconostasis, the altar and side altars, and other items of equipment, the author of which is the famous carver Andriy Sabaray. The icons of the iconostasis were painted by Anton Manastyrskyy.
Church of St. Michael the Archangel
Since 1620 there was a wooden church of the Nativity in the village of Verin. The patron of the church is the Stanisław Count Skarbek Foundation. The old church was dismantled after 1938. A wooden bell tower has been preserved, which is an architectural monument of the XVIII century. In 1907, at a meeting of the church committee, it was decided to begin construction of a new brick church. The project of the church was ordered from the architect Vasyl Nahirny. Construction began in the spring of 1909. In 1921, Vasyl Nahirny died and his son Yevhen continued the architectural supervision of the church. Construction continued with interruptions until 1929. In 1932, during the rectorate of Fr. Mykola Kindii, the church was consecrated in honor of St. Michael the Archangel. In 2007-2019, the church was painted by the artist Mykola Havryliv. The stained glass windows were designed by Lubomyr Medved.
St. George's Church
In 1921, in the village of Dulibs in the Stryi region, at the expense of the local community, built a large wooden five-domed church of St. George, whose artistic ensemble, with its organic synthesis of ancient traditions of decorative art and new spatial planning solutions of architecture, is one of the best examples of creative cooperation between a professional architect and a folk builder. The church preserves unique for Lviv region works of the master Vasyl Turchyniak, who consistently preserved the traditions of Hutsul flat-carving on wood, was one of the few who used carved decor in the design of the facades of sacred buildings, enriched the shaping and decoration of church interior equipment. The history of the construction of St. George's Church allows us to trace the process of mythologizing the personalities of folk artists in folklore, endowing them with supernatural skills and abilities of divination.
Chapel in the Transfiguration Monastery
A brick, one-story chapel with one nave. It was built together with the monastery in 1938 on the land given to the Basilian sisters by the spouses Peter and Maria Vynar. The chapel is designed in a non-Byzantine style. The apse has a semicircular shape. Above the nave rises an octagonal cupola on a tholobate with four windows. In 1946, the Soviet authorities liquidated the monastery. In 2001, the house was returned to the Basilian sisters, and on August 15, 2004, the restored monastery was consecrated. The students of the Department of Sacred Art of the Lviv National Academy of Arts Yuriy Hrechyn and Vladyslav Malavskyy developed the mural project for the apse of the chapel as a diploma project. Together with them, since 2005, Alla Salatyuk, Nataliya Rusetska, Nazariya Mykhaylyuk and Monika Syrotyuk have painted the chapel. Lyubomyr Banyk made stained-glass windows depicting archangels. In 2009 and 2013, Taras Novak painted the remains of the temple.
Church of the Intercession of the Blessed Virgin Mary
The first mention of a church in the village of Porshna, Lviv district, dates back to the lustration of 1570. In the register of churches compiled by Joseph Shumlyansky in 1708, the church of the Intercession of the Blessed Virgin Mary in Porshna is mentioned. The first stone church was built in 1803. The modern one was built in 1925 by the architect Oleksandr Lushpynskyi, under the pastor Fr. Yevhen Vozniak. It is a one-story, single-nave, cross-shaped church with two bays and a chancel, a modernist building in the Art Deco style. The iconostasis of the first half of the twentieth century is tall and four-tiered, with icons by Joseph Dubohorsky. The interior of the church has a polychrome mural of the late twentieth century. In the church there is a Gospel of 1690 from the printing house of the Stravropegian Brotherhood. On the northwest side of the church there is a wooden bell tower of 1740 from the old wooden church.
Історія
В архівних документах село Поршна вперше згадується з 1468 року. Населення займалось розробкою кам'яного кар'єру та випалюванням вапна [9]. Перші згадки про церкву в Поршні походять з люстрації 1570 року [11]. 1671 роком датуються привілеї короля Михайла для о. Симона Поршнянського, на грунти які здавна належали до церкви. В 1678 році дерев’яна церква Покрови Пресвятої Богородиці в Поршні була відновлена і освячена деканом львівським о. Яковом Бережницьким. Згадується також частково огороджений цвинтар біля церкви і дерев’яна дзвіниця на три дзвони, яка так само як і церква була накрита ґонтям. 1698 роком датуються привілеї на село від дідича Людвіка де Ляґранде, маркграфа з Артвіжу [2], [11]. Реєстр церков що стали греко‑католицькими, укладений львівським єпископом Йосифом Шумлянським близько 1708 року, згадує про церкву Покрови Пресвятої Богородиці в Поршні, що належала до столових маєтків Львівської єпархії [2],[9],[10]. 1710 року село належало Александру Яну Потоцькому. 1762 року по смерті пароха о. Андрія Вишневецького, від чверті року не має пароха. Адміністратором є парох с. Хоросно, о. Михайло Чайковський [2], [11], [16]. У 1789 році парохом є о. Теодор Онишкевич. В 1802 році парохом в Поршні стає о. Богдан Громницький. У 1803 році збудована мурована церква 17 х 9 метрів, коштом патрона Йозефа Ріттена фон Горайського за 2300 флоринів з іконостасом та дзвіницею за 40 фл. [4], [16]. Який вигляд мала ця церква і за чиїм проєктом будувалась?, - не відомо. Також не зрозуміло про яку дзвіницю йде мова, оскільки дзвіниця в Поршні і досі є дерев’яною. Ймовірно відбулось оновлення старої дзвіниці. Відомо що на той час церкві належало 38 моргів землі. З 1832 року парохом стає о. Степан Кулачковський. У 1837 році парохом є о. Михайло Гороховський [16]. У 1876 році парохом був о. Константин Чепіль. В шематизмі Всечестного Клира Митропол. Архідіецезіи греко‑католической Львовской за 1882 рік, зазначено що патроном храму є Сукцесор. Михаїла Ромашкань. Завідателем місцевим є о. Володимир Глинський.
Число парафіян у Поршні є 716. В дочірній парафії в Підсадках — 140. Разом 856. Дотація орного поля — 30 моргів, сіножатей 9 моргів. [15, 177]. З шематизму за 1883 рік, довідуємось що завідателем уже є о. Йосиф Бандира. Число парафіян збільшилось у Поршні до 722 осіб, а в Підсадках до 145. Тобто загалом зросло до 867 [16, 191]. 7 березня 1908 року розпочався збір коштів на будівництво теперішньої нової мурованої церкви, що підтверджено протоколом зборів громади. Зібрані кошти були знецінені у 1914–1920 роках. Лише у 1921 році за пароха Євгена Возняка, війта Якима Стецьківа, секретаря Юзефа Кволіка та директора школи Володимира Жизневського і громадської ради у складі 20 осіб, вирішили продати керничанський ліс з метою ремонту церкви і парафіяльних будинків, які були понищені війною. Згодом ремонт церкви замінили перебудовою що детально зафіксовано у збереженому протоколі від 2 липня 1921 року. За даними регента церковного хору в Поршні, пані Марії Мандзюк (Чабан), будівництво нового храму велося з липня 1923 року по жовтень 1924 року. 14 жовтня 1924 року на храмове свято Покрови Пресвятої Богородиці, в новозбудованій церкві відбулося перше Богослужіння, яке очолив щирецький декан, о. Володимир Стернюк, батько майбутнього Архиєпископа УГКЦ [8]. Натомість за даними Василя Слободяна та Богдана Закалика, нова церква збудована у 1925 році за проєктом архітектора Олександра Лушпинського, за отця Євгена Возняка [1], [5]. У 1930 році на похороні їмості Юліани Чепіль з поміж інших священників був присутній о. Андрій Бандера, батько лідера ОУН, Степана Бандери. Про це зберігся запис в парафіяльній книзі реєстрації похоронів [8]. В 1938 році церкву було розписано [17, 132]. 18 жовтня 1941 року до храму було куплено кивот. У 1967–1968 роках за спогадами п. Марії Мандзюк, була виконана сучасна поліхромія храму. В 1986 році до храму виготовили престіл та проскомидійник. У 1996–1997 роках був здійснений ремонт храму і добудована ризниця. В 2004 році різьбяр Олесь Павлюк виготовив тетрапод.
Архітектура
Мурована, однонавна з бічними крилами церковна споруда, первісно у 1803 році побудована в терезіанському стилі, а в 1923–1925 роках перебудована за проєктом Олександра Лушпинського у стилі ардеко. Орієнтована по осі захід‑схід. Дахи над навою і крилами є двосхилими, покриті бляхою, увінчані ліхтарями. Головний фасад з присінком та крила завершені хвилястими ардековими (неорококовими) причілками з волютами. Зі схилів даху нави піднімається чотиригранний об’єм, дах якого має дзвоноподібну форму.
Лінії між стінами і дахом по периметру оздоблені профільованим карнизом. З північної і південної сторін даху нави стінки цього об’єму прикрашені овальними псевдо‑вікнами з причілками. Над гребенем даху нави і дзвоноподібною фальш‑банею, здіймається восьмигранний барабан‑ліхтар, який увінчує восьмигранна неорококова баня з восьмигранною маківкою, на верхівці якої є яблуко, півмісяць і металевий хрест з променями, які відходять від круглого середохрестя. Рамена хреста прекрашені трилисниками. На чотирьох гранях барабану є прямокутні псевдо‑вікна з дашками, що нагадують архітектуру дерев’яних церков, а до інших чотирьох граней примикають об’єми пірамідального верху, який виходить від чотиригранної дзвоноподібної бані.
Зовнішні кути храму прикрашені наріжними пілястроподібними контрфорсами. Бічні крила є нижчими за об’єм нави. На гребенях дахів крил розміщено по одній восьмигранній вежечці-ліхтарі у формі зрізаного конуса, верх якого прикрашений хвилястим декором що імітує один ряд дахівки. Накриваються зверху ці вежечки‑ліхтарі восьмигранними дзвоноподібними дашками з вузькими видовженими маківками, на яких є яблука та металеві хрести з ромбовидними кінцівками на раменах. Такий же хрест є на причілку західного фасаду нави. Дах над присінком є двосхилим. Пілястри на присінку є лише з західної сторони. Фасад присінку прикрашає ардекове вікно з вітражем. Над вікном є декоративна восьмикутна ардекова зірка, в центрі якої є рівнораменний хрест. Аркоподібні масивні вхідні дерев’яні двері накриті півциркульним порталом який прикрашений двома колонами. З боків присінку є по одному аркоподібному вікні. З боків нави їх є по двоє на кожній стороні. На фасадах крил по одному, над якими є ще овальні псевдо‑вікна. Східний фасад нави також завершений причілком.
П’ятигранний об’єм вівтара примикає до східного фасаду нави. Дах над вівтарем є п’ятисхилим і увінчаний хрестом. На південно‑східних та північно‑східних гранях вівтара є аркоподібні вікна. Усі вікна мають автентичні металеві грати з вставками кольорового скла. З північної сторони до святилища і східної до крила і нави, примикає низьке прямокутне а плані приміщення ризниці. З південного боку до вівтара і зі східної сторони до крила та нави, у 1996–1997 роках добудоване аналогічне приміщення паламарні. Обидва приміщення мають по одному вікну зі східної сторони і накриті двосхилими дахами. Окремий вхід ззовні з південної сторони має лише паламарня.
Інтер’єр
Інтер’єр однонавний, базилікального типу з двома крилами. Нава і крила накриті циліндричним склепінням. Півкруглий в плані вівтар має комбіноване склепіння, аркоподібне у східній частині переходить у конху. Між стінами і склепінням по периметру храму проходить щедро профільований білий карниз. Святилище від нави відділене широкою у верхній частині мурованою тріумфальною аркою. Так само вхід до бічних крил є через арки у стінах нави. На кожній з стін нави є по двоє великих аркоподібних віка з металевими гратами, які повторюють його форму і оздоблені вставками кольорового скла. Аналогічні вікна є у бічних крилах. Вужчі два вікна є у вівтарі. Два менші на південній та північній стінах бабинця під хорами.
Бабинець є вужчим за наву, відділений від неї двома дерев’яними стовпами, які також підпирають хори. Стеля в бабинці є плоско, в північній частині розміщені дерев’яні сходи на хори. Склепіння над хорами є півциркульним. По центру західної стіни хорів в арці розміщене рококове вікно з вітражем. Хори від нави відділені трьома секціями дерев’яної балюстради з точеними фігурними балясинами. Кожна з секцій кріпиться до квадратного в плані грубого дерев’яного стовпця з кулястим точеним завершенням. Між навою і хорами також є арка. Балюстрада підкреслюється білим профільованим карнизом. Перегородою між навою і вівтарем слугує чотириярусний іконостас прямокутної форми.
В північному крилі розміщений пристінний вівтар пер. пол. ХХ ст. з іконою Богородиці Непорочне Зачаття. В наві є новий тетрапод та вісім рядів нових лав, до яких кріпляться вишиті хоругви і фани. Старі ж лави пер. пол. ХХ ст., розміщені вздовж стін нави. У вівтарі на престолі є однокупольний кивот поч. ХХ ст., з іконою Євхаристійного Христа на дверцятах, та сценами Покладенням до Гробу, Воскресіння Христового та Жінок Мироносиць на бічних стінках. Кивот є позолоченим, квадратним в плані. На чотирьох кутах прикрашений скрученими колонами та маківками з хрестами. Баня кивоту має восьмигранну шоломовидну форму, декорована плоскою різьбою у вигляді лусок. Завершується маківкою з хрестом. Бічні стінки кивоту мають арчасту форму. З лицевої сторони на рівні бані прикрашений різьбленою мушлею. За престолом є латунний семисвічник. Штучне освітлення в храмі забезпечує велике панікадило та менші кришталеві люстри. В храмі зберігаються два Євангелія‑стародруки. Одне 1690 року з друкарні Ставропігійського братства у Львові, а друге з 1857 року.
Іконостас
Загальний силует чотириярусного іконостасу має прямокутну форму. Висотою іконостас наближається до рівня бічних стін нави. Точний час створення іконостасу, та автор його різьби не відомі. Відомим є лише автор малярства ікон, це Йосиф Дубогорський. Знаємо це завдяки підпису художника в нижньому куті храмової ікони Покрови Пресвятої Богородиці у намісному ряді, яка знаходиться з правої сторони. З відомих нам робіт цього автора є розпис храму Покрови Пресвятої Богородиці в с. Поздимир на Радехівщині, який датований 1907–1909 роками [7], [11, 279–281], [12, 240–245]. Традиційно в намісному ряді є ікони Богородиці Одигітрії, Христа Вчителя та святого Миколая. Останній зображений в повен зріст у митрі. Ікони намальовані в реалістичній академічній манері.
Тла ікон Христа і Богородиці декоровані мальованим рапортним орнаментом. На іконі св. Миколая фон блакитний у вигляді пейзажу. На хмарках є півфігурні зображення Христа і Богородиці. В іконі Покрови, дія відбувається в інтер’єрі храму. В центрі ікони зображений диякон Роман Солодкоспівець, у верхній частині Богородиця в короні на хмарах, яка тримає в руках омофор. Ікони обрамлені профільованими позолоченими рамами. Царські ворота пишно декоровані ажурною різьбою з реалістичним мотивом виноградної лози. В чотирьох овальних медальйонах намальовані чотири євангелисти з символами. Центральною віссю царських воріт є різьблений стовп на вершині якого знаходиться різьблене Євангеліє та митра. Дияконські двері також прикрашені ажурною різьбою на основі рослинних мотивів. У великих овальних медальйонах намальовані архангели Гавриїл та Михаїл.
Предели під іконами є низькими, декоровані під мармур. Ікони розділені синіми капітелями з позолоченими різьбленими накладками. Сама конструкція іконостасу помальована в колір слонової кістки. Над намісним рядом розташований празниковий, в якому є 12 прямокутних ікон, згрупованих по двоє і розділених декоративними пілястрами. Ікони розміщені в такій послідовності (зліва на право): Різдво Пресвятої Богородиці, Введення в храм Пресвятої Богородиці, Благовіщення Пресвятої Богородиці, Різдво Христове, Стрітення Господнє, Богоявлення Господнє, Преображення Господнє, Вхід Господній у Єрусалим, Воскресіння Господнє, Вознесіння Господнє, Зіслання Святого Духа та Успіння Пресвятої Богородиці. Вище розміщений апостольський ряд з іконою Христа Вседержителя в центрі. Христос зображений як Великий Архиєрей на троні з відкритою Євангелією та благословляючою десницею. На голові у Нього митра, що нагадує корону. Фон ікони декорований так само як і намісні ікони.
Дванадцять апостолів розміщені по двоє у двополовинчастих аркоподібних рамах. Найближче до Христа знаходяться апостоли Петро і Павло. Легко можемо ідентифікувати чотирьох євангелистів за їх символами. Також можна впізнати апостола Якова Заведеєвого з хрестом та капелюхом та Симона Кананіта з пилою, апостола Андрія Первозванного з х‑подібним хрестом. Ще трьох апостолів нам не вдалось точно ідентифікувати. Припускаємо що це можуть бути Юда Тадей, Пилип та Яків Праведний (Брат Господній). Над апостольським рядом розміщений пророчий ярус. В ньому бачимо 12 пророків намальованих півфігурно по двоє у шести різьблених картушах. Увінчує іконостас Розп’яття Господнє, що знаходиться по центру над іконою Христа Вседержителя.
Ікони
Під аркою південного крила, на підставці знаходиться ікона Серця Христового поч. ХХ століття, намальована на металі. Саме Серце Ісуса є замальованим і потребує фахової реставрації.
Стінопис
Перший розпис храму був виконаний у 1938 році. Другий в 1967–1968 роках у реалістичній манері. На тріумфальній арці зображений Бог‑Отець з двома ангелами. У консі святилища намальована Богородиця Покрова в оточенні ангелів. Ці два розписи відрізняються від стінописів решти храму, що свідчить про щонайменше двох художників які виконували поліхромію. Це підтверджується і спогадами місцевих мешканців, які пригадуть як усім селом збирали яйця для художників що розписували храм. Тобто стінопис виконаний в техніці яєчної темпери. На стінах вівтаря сцени Різдва і Воскресіння Христового. На стінах нави зображені чотири євангелисти з символами, святі апостоли Петро і Павло, та святі рівноапостольні Володимир і Ольга. Орнаментальне оздоблення виконане трафаретним методом.
Довкілля церкви
З північно‑західної сторони храму, на схилі пагорбу, розташована дерев’яна двоярусна дзвіниця, яка збереглась від старої дерев’яної церкви і ймовірно походить з 1740 року. Зараз дзвіниця накрита бляхою, хоч первісно була покрита ґонтям. В плані дзвіниця є квадратною. Другий ярус має галерейне розширення і по три слухові отвори з кожної сторони. Дах дзвіниці пірамідальної форми, увінчаний металевою маківкою та кованим хрестом. Між храмом і дзвіницею знаходиться кам’яний хрест 1915 року присвячений Борцям за волю України.
текст: Богдан Зятик
світлини: Олекса Піджарий
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Church of the Holy Apostles Peter and Paul
The Lipnyks built a stone one-story church of the Holy Apostles Peter and Paul of the UGCC, designed by architect Myron Vendzilovych and with the participation of his son Oleksandr, with donations from parishioners and donors. The stained glass compositions in the choirs and in the sanctuary were made by the Berkut company according to a design by Oleksandr Horobyuk in 1995. The interior is decorated with polychrome murals from 2006-2013 by Dmytro Vasylkiv, Tetiana Znak, Ulyana Shykh, Andriy Syvak, Taras Novak, Myroslav Pivtoranos, Vasyl Syvak, Andriy Kyrychenko, Mykhailo Kitsak, and Yaroslav Fediv. Students of the Department of Sacred Art of the Lviv National Academy of Art and Architecture were involved in the work on the mural: Bohdan Ziatyk, Ivanka Demchuk, Marta Soika, and Sofia Marushchak. The design of the stone single-tiered iconostasis was designed by Nazar Muravsky.
Church of the Holy Trinity
The three-tiered wooden church was built in 1720 at the expense of the parishioners. The church is distinguished by slender proportions, a harmonious composition of spaces. It has three octagonal tops and a wide outside gallery. The building is one of the best examples of wooden sacred architecture in the Lviv region. The interior preserves an authentic baroque iconostasis made by masters of the Zhovkva school, which was the leading school in Galicia at the end of the 17th and the first decades of the 18th century. The six-tiered iconostasis impresses with professionalism of the icons, the harmonious colour, and the richness of the ornamental carvings. The authorship of the local icons of Christ and the Virgin Mary (1720s) is attributed to the famous master from Zhovkva – Vasyl Petranovych, other icons – Mykhaylo Rutkovych. The possible author of the carving of the iconostasis is a Zhovkva master Hnat Stobenskyy.
Church of St. Arch. Michael
The church was built by the efforts of the parish priest Fr. Andriy Snihurovych in 1770. It is typical for Galicia – wooden, three-log, three-tiered. Though the interior of the church is absolutely unique, because, unlike other traditional churches, it is generously filled with voluminous professional and naive sculptures of angels and saints. The lavishly decorated baroque altar with mannerist columns was purchased from the Lviv Latin Cathedral. The iconostasis and side altars in Rococo style were made by carvers and icon painters at the end of the 18th century. Attention is drawn to the deacon's door with the carved archangels Michael and Gabriel. In 2020, on the initiative of the local community, with the support of the parish priest Fr. Yuriy Netsko, the outside of the church was restored under the supervision of an architect Yuriy Dubyk.
Church of the Exaltation of the Holy Cross
The Church of the Exaltation of the Holy Cross in the village of Otynevychi, Stryi district, was built in 1893, probably by Vasyl Nahirnyi. There is a carved inscription on the inner cornice of the southeastern face of the octagon of the nave: "Built in 1893". The church is wooden, one-story, cruciform in plan. The patron of the church was Aloysius of Bohenia. In 1882, the parish priest was Kryloshany's Fr. Mykola Kotsovskyi, the number of parishioners was 660. The interior has preserved the iconostasis, side altars and church furnishings of the late nineteenth and early twentieth centuries. The mural of the church belongs to the same period. The kivot is original, in the form of the Ark of the Covenant. In 1901, 830 Greek Catholics lived in the village. In 1912, Metropolitan Andrey Sheptytsky paid a canonical visit to the church. The new polychromy was made by Lubomyr Zaleskyi in 2008-2011 with the blessing of Bishop Taras Senkiv under Father Oleh Flinta, as evidenced by the table in the church's interior.
Church of the Transfiguration of the Lord
1927-1930 in the village of Vorobliachyn in the Yavoriv district, a large stone church of the Transfiguration of the Lord was built by the efforts of the village's parish priest, Kostiantyn Kozii, and at the expense of parishioners. The building is one of the best realized projects of the famous Lviv architect Oleksandr Lushpynskyi. The altar part is decorated with polychrome, which was made by the famous Ukrainian artist Demian Horniatkevych. During this period, a vicarious row of iconostasis was realized, the entire complex of which was completed in the second half of the twentieth century.
An outstanding monument of Galician architecture was the previous wooden church, which was built in 1662 by master Yats Horn.
Church of the Immaculate Conception of the Blessed Virgin Mary
The church was built in 1762 by the efforts of the village grandfather, Kazymyr Pravdych, under the tutelage of Lviv Bishop Lev Sheptytsky. The monument belongs to the outstanding works of wooden architecture of the Galician school. The interior of the building preserves a unique Baroque-Rococo painting ensemble, dated, according to an inscription on the east wall and above the south door of the nave, to 1763. The ideological program of the decoration is based on the glorification of the church's founder and his wife Petronilla, who came from the ancient noble family of Putkovsky of the Nalench coat of arms. This is the reason for the dedication to the Immaculate Conception of the Blessed Virgin Mary, which is rare for Ukrainian churches, and the iconography of the church's wall paintings, which is atypical for the Eastern rite, which shows the significant influence of the Roman Catholic tradition. An important innovation was the reproduction of a local legend about the history of the church's foundation in Vysloboky.
Church of the Nativity
The brick church of the Nativity in Dobriany was built in 1814 by architect Michael Fabry. The patron of the church was David Abrahamovich. For many years, the parish priest was Fr. A characteristic feature of the one-nave building is the bell tower above the nave. The interior of the church houses an iconostasis of the late nineteenth and early twentieth centuries. The icons of the vicarage row depict St. Ignatius of Loyola and St. James the Apostle. The oval forms of the icons of the prophetic row are original. The icons in the nodal section are painted by Anton Manastyrsky. In 1946, the church's rector, Fr. Leonid Shchyrba. The polychrome of the sanctuary was painted in 2013-2014 by Lviv artist, lecturer at the Department of Painting of the Lviv National Academy of Arts, co-founder of the Alimpiy icon painting workshop, Yurii Verbovskyi. The author's seven-candle candlestick in the form of a pysanka was designed by the artists' spouses, Andriy and Maryna Komarnytsky.
Church of the Archangel Michael
In 1884, construction began on the stone church of St. Michael the Archangel in the village of Rudnyky in the Lviv region, which was consecrated in 1889. The model for the architecture of the new church was the Kyivan cathedral, which locals went to see on the advice of the wife of the church's patron, Theodosius Poliansky. The architectural design was developed by Skolozdra from Rudnyky. The church is cruciform in plan and has seven domes. The icons for the iconostasis and the mural were painted by the famous artist Theophilus Kopystynskyi (part of the mural has been restored). The artist worked in this church from 1905 to 1912. This was the last and longest work of the talented artist, which he spoke of as his best work.
Church of the Assumption of the Blessed Virgin Mary
The Church of the Assumption of the Blessed Virgin Mary The Church of the Assumption of the Blessed Virgin Mary in Stryi is the cathedral church of the UGCC. The church is decorated with its iconostasis, made in 1935-1937. The project, carving and gilding of the iconostasis belongs to the master from Kamianka-Buzka Mykhailo Nakonechnyi. The icons were painted by Vasyl Dyadynyuk, who drew on the traditions of Ukrainian medieval art. This is the only complete surviving iconostasis of this talented artist. The church building has its own history. The original church on this site belonged to the monastery of the Franciscans. It was wooden with a stone sanctuary and a sacristy. In 1785 the Austrian authorities liquidated the monastery and three Ukrainian churches in the city. The Ukrainian community was given the monastery church. In 1835-1846 the church was rebuilt (a nave was added to the sanctuary). Another reconstruction of the church took place in 1993-1996. A revered relic of the church is the miraculous icon of the Virgin of Liski painted in the last quarter of the 17th century. The icon was brought by Ukrainians evicted from their native lands in January 1946 to their relatives in Stryi.
St. Paraskeva Church
The Church of St. Paraskeva in Stara Sola, together with the bell tower, is one of the best sacred ensembles of the ancient Galician type, dating from the seventeenth century, and perhaps even earlier. It is a three-story wooden church with two tops, on a high stone foundation, and covered with shingles. The lower log cabins are covered with a wide canopy on pillars, which around the altar passes into a canopy supported by profiled crowns of the log cabins. The emporium with an arcade-gallery above the narthex adds to the church's uniqueness. The interior has a carved iconostasis, old carved royal doors and some ancient icons. The 17th century icon is particularly noteworthy. "St. Nicholas", a wooden sculpture of a seated Christ. Today the church has been restored, although not everything has been done professionally. In particular, the spaces of the nave and altar have been covered over, the carved iconostasis has been covered with foil and some ancient icons have been recorded, and the tops and roofs have been covered with copper tin.
Church of St. Michael the Archangel
The Church of St. Michael the Archangel was built in 1663 by the master Ilya Panteleimon. This three-story wooden church under the shingles is unique because it is one of the few surviving churches with wings that hide under the eaves and an emporium above the narthex with an open arcade gallery, similar to the church of St. George in Drohobych. Despite the antiquity of the shrine, not only the architecture but also the church's artistic content has been preserved here: a carved Baroque iconostasis created in 1669, very interesting wall paintings of the XVIII-XIX centuries, ancient icons, wooden sculpture, banners of the XVIII century, authentic locks and a cenotaph have also been preserved. The church has long attracted the attention of researchers, in particular, it was studied by M. Dragan, P. Makushenko, and V. Slobodian. Now the church is in the process of restoration - the building itself is being restored (architect S. Pinkovsky), the iconostasis and mural painting (artists-restorers O. Rishnyak, O. Sadova). The restored wooden church in Isayi, its iconostasis and mural painting, together with the gate-bell tower built in 1722, can be worthily added to the UNESCO World Heritage List.
Church of the Immaculate Conception of the Blessed Virgin Mary
The church was built on the initiative of Fr. Hippolyta Pogoretsky. The original design and estimates were made by Lviv architect Albin Zagurski in 1891. The estimate reached 14,000 Roman gold pieces, and the richest parishioner, the owner of the estate, Emil Torosevych, an Armenian by nationality, agreed to allocate 9,000. Due to financial troubles and political unrest, the construction was delayed, and starting in 1904 it was carried out according to the project of Vasyl Nahirny. It was completed in 1908 and consecrated by Metropolitan Andrey Sheptytsky in 1912, as evidenced by the table in the middle of the church. The carvings of the vicarage row of the iconostasis were made by Andriy Koverko. The altar icon of the Virgin Mary Immaculate Conception belongs to the brush of Osyp Kurylas. The church's polychrome was painted in 2003 by the Drohobych artel of artists (Serhii Bulko, Ihor Leskiv, Ihor Oryshchak, and Yevhen Khrunyk).
Church of St. Panteleimon
Two dates appear in the foundation of the existing Skole wooden church: the end of the 16th and 17th centuries. It is not the first church in the town, but it is one of the oldest examples of the Boyko type of church, characterized by three shingle pyramidal tops over square log cabins. The church, dedicated to St. Paraskeva, was filled with ancient icons and had a carved silver iconostasis of the seventeenth century. The bell tower of this church was located on the second tier of the Babynets, and in 1760, the master Sen Shlokovets built a separate pillar bell tower next to the church, which serves as the gate-entrance to the church territory. During its existence, the church and the bell tower were repaired, in particular, in the 1930s, the shingle roofs and the attic were covered with galvanized sheet metal. In 1967, a thorough restoration was carried out with the restoration of the shingle roofs and walls, and in 1970 the church was turned into a local history museum. In 1993, the church was returned to the Greek Catholic community and re-consecrated as St. Panteleimon. After the fire in 2009, significant repair and restoration work was carried out, affecting both the building itself and the interior, including the iconostasis, which was reconstructed. Together with the gate-bell tower, the Skole church creates a unique sacred complex.
Church of the Resurrection of the Lord
The stone Church of the Resurrection was built in Uhersk in 1912-1913 by the famous Lviv architects Oleksandr Lushpynskyi and Thaddeus Obminskyi. In 1934, a new iconostasis was made for the church, which is a significant monument of Ukrainian church art of the first half of the 20th century. The author of the iconostasis icons is the artist Yuriy Magalevsky, and the carving was done by Ivan Terplavets from Ivano-Frankivsk. The structure and carvings of the iconostasis have features of the Ukrainian style developed by leading Ukrainian artists in Galicia. Among the icons of the iconostasis, the Intercession of the Virgin Mary has an interesting iconography, depicting peasants against the background of a wooden church. The church was painted by graduates of the Department of Sacred Art, Yurii Hrechyn, Vladyslav Malavskyi, and Oleksii Cherednichenko, during 2007-2010. On the walls of the church we see some of the first images of Ukrainian new martyrs of the 20th century in monumental art.
St. Sophia Church
The Church of St. Sophia in Zolochiv was built in 1995-2005 by the Orthodox community led by Fr. Vasyl Sagan and designed by Iryna Kmit. In 2004, Kost Markovych painted the dome with the participation of Roman Kyslyy, Ihor Teplyy, Andriy Urbanovych, and Oleksiy Cherednichenko. In 2005, Oleksii Cherednichenko, a graduate student of the Department of Sacred Art at the Lviv National Academy of Arts and Sciences, under the guidance of K. Markovych, developed a project for the painting of the vaults and altar part of the church and began its implementation. M. Tronets, D. Horditsa, D. Vasylkiv, D. Pshenychnyi, S. Cherednichenko, E. Tyshchenko, O. Mysiak. The painting was completed in 2006. The iconostasis and iconostasis design and carving were developed and executed by Vasyl Khomyk. The icons in the iconostasis and the Crucifixion were painted by K. Markovych. The author of the stained glass windows is Taras Balukh.
Church of the Assumption of the Blessed Virgin Mary
The stone, one-story, cruciform church is one of the masterpieces of Ukrainian Art Nouveau architecture of the first third of the twentieth century, based on a reinterpretation of the forms of the Cossack Baroque. The church is one of the best realized church projects by the prominent Ukrainian architect Serhiy Tymoshenko, a leading student of Vasyl Krychevsky, the founder of Ukrainian Art Nouveau architecture. The church was built with adjustments by architectural engineer Oleksandr Pezhansky in 1929, with construction by engineer Lev Shelevych. The end of the ramen with four lanterns creates the impression of a five-story church. The interior is distinguished by a highly artistic ensemble of 10 stained-glass windows made by the Krakow firm of S. Zhelenski under the supervision of Bohdan Lepkyi according to the designs of the outstanding artist of the Art Nouveau and Art Deco eras, Petro Kholodnyi the Elder. The mural was painted in 1991, shortly after the church resumed worship, by local painters, father and son Vasyl and Oleksandr Kravchuk.
Church of the Resurrection
In 1905, in the village of Polyany in the Zolochiv district, a wooden five-division three-story church of the Resurrection was built at the expense of the local community on the site of an ancient church built in 1645. The building was designed by Vasyl Nahirnyi. On the initiative of the then parish priest, Fr. Theophilus Petrovsky, the outstanding artist Modest Sosenko worked on the church's painting, creating the polychrome of the central dome and icons for the iconostasis and side altars. He was assisted by his students: his cousin Iryna Velychkovska-Shukhevych and Julian Butsmaniuk.
The interior of the church contains memorabilia from the previous church, in particular, a particularly revered icon of the Archangel Michael from 1868.
In 1927 a bell tower was built. Near the church there is a "column of sobriety", one of the few that has survived to this day.
Church of the Ascension
The church in Novyi Vytkiv is one of the most striking sacred examples based on the principles of affirming Ukrainian identity. It was built in 1910 and is a brick, single-domed church of Byzantine architecture with modernist wall paintings and an iconostasis. Many famous names were involved in the creation of the church. It was built at the expense of patrons, including the famous opera singer Oleksandr Myshuga and Count Stanislav Badeni, the grandfather of Vytkove. The construction was led by civil engineer Yakiv Rudnytskyi according to a project designed by Vasyl Nahirnyi. The author of the iconostasis and the altar icon was Osyp Kurylas, and the vicarious icons were painted by Polish artist Konstanty Dzbanski. The walls are covered with ornamental and narrative paintings by Pavlo Kovzhun and Mykhailo Osinchuk, characterized by a modern style based on Byzantine frescoes and national elements. The stained-glass windows were designed by S.-W. Matejko in the Krakow stained-glass workshop of S.G. Zhelenski. Today, the church has been restored from the outside, and the memorial paintings have also been restored, while the unpainted walls have been supplemented with new paintings by restoration artists Oksana Sadova and Oleh Rishniak.
Church of St. Dmytro
The Church of St. Dmytro in Matkiv is a wooden, three-domed, three-story church of the Boyko type. The date of its foundation in 1838 is carved on the portal of the main western entrance, and the names of the builders - Melnykovych and Vasyl Ivanykovych - are left on the jamb of the southern door. The square log cabins of the church are surrounded by a wide eaves on the stepped releases of the crowns of the log cabins and are completed by high eight-sided tops with breaks, crowned with helmet dome roofs with tops and forged crosses. The uniqueness of the church lies in its multi-hall roofs in the picturesque surroundings of the Carpathian Mountains. This was the reason for the church's inclusion in the UNESCO World Heritage List in 2013. The interior is stylistically in tune with the building itself. The carved and gilded iconostasis of the XIX century attracts attention with the original royal gate in the form of the tree of Aesop with 35 ancestors of Christ. The sacred ensemble is complemented by a wooden three-tiered bell tower with an arcaded voice tier, built in 1924 by master Mykhailo Veklych, and a wooden fence with a gate.
Church of the Nativity of the Blessed Virgin Mary
The church in Uhniv marks the sacred space of the once multi-ethnic city with its large domes and onion-shaped cupolas. It was built in 1797 by rebuilding an old wooden church, but due to lack of funds, construction was completed only in 1857 at the expense of Uhniv citizens Stefan and Pelagia Zhukovski. In 1893, the brick church, whose structure resembled a wooden three-tiered, three-story church, was reconstructed by the famous Ukrainian architect Vasyl Nahirnyi, who emphasized its onion-shaped dormers and baroque pediments. The modern polychrome mural in the interior, painted by Demian Horniatkevych and Oleksandr Dykyi, is admirable, depicting Ukrainian history in the form of prominent religious and political characters and harmoniously aligned with the ancient traditions of church art. The carvings of the iconostasis and the high altar belong to the famous sculptor Yevstakhiy Shchuplakevych. The Uhniv church is a unique example where historical architecture is combined with a traditional wooden church and filled with modern neo-Byzantine paintings.
Church of the Presentation of the Blessed Virgin Mary
The wooden church of the Assumption of the Blessed Virgin Mary was built in 1702 by priest Dmytro Lozynskyi, the founder of the church is recorded as Yakiv Ostapets (inscription on the western doorstep). The church is of the three-domed type with one dome over the nave, good in proportions. The interior of the church has icons of different times. The oldest is the central icon of the Prayer rite from the second half of the 17th century, which is now in the iconostasis. The icons of the two apostles and the icon of the Coronation of the Virgin Mary and the royal gate date back to the early 1760s. One of the oldest icons of the church is also the Entry of the Virgin Mary into the church, which is sometimes attributed to the legacy of Fedir Senkovych (1600-1620s), but this icon has been completely redrawn. The church in Vovk, despite its picturesque architecture, is also famous for the fact that it was served by a prominent Ukrainian public figure, Fr. Mykola Ustianovych. There is a memorial museum of the Ustianovych family in the village.
Church of the Transfiguration of the Lord
The church was built of wood in 1787 and represents a typical example of a traditional three-log, one-tier sacred building typical of Galicia. A high five-tiered iconostasis is installed in the interior. The icons of its upper tiers were painted by a well-known artist Mykola Petrakhnovych, and the carved frame was made by a Lviv craftsman Anton Shtyl’. These parts of the iconostasis were purchased from the church of St. Nicholas of the Krekhiv Monastery, which was dismantled in 1775. They are a unique monument of Ukrainian art of the mid-17th century. Place icons and side baroque altars were created for this church at the end of the 18th century. In 1955, the walls in the interior were covered with paintings in the Art Deco style. In 1963, the church, together with the bell tower, was included into the register of monuments of cultural heritage of national importance, protection No. 452.
Church of the Nativity of the Mother of God
The wooden one-tier church was built in 1705 by the efforts of a parish priest Yosyf Kyshnytskyi and his wife. The church has harmonious proportions, a high top above the nave. The interior is decorated with a high iconostasis, the structure and icons of which are made in the tradition of the Zhovkva school. The six tiers of the iconostasis are completed by the grandiose Crucifixion with attendants. Three icons of this iconostasis were painted in 1708, one in 1710, others in 1730, one in 1846. The author of the oldest icons is a Zhovkva master Tom Styslovych, whose work is marked by the strong influence of his older colleague, the famous icon painter Ivan Rutkovych. The icons of 1730 were painted in an expressive baroque style by a professional anonymous master of the Zhovkva school.
St. George's Church
The wooden church of St. George in Drohobych is a pearl of sacred architecture. The church fascinates with its exquisite silhouette and harmonious proportions. It is three-story, three-tiered, has two covered galleries below and on the second tier, where the entrance to the chapel of the Introduction of the Virgin Mary into the church is located. The church has preserved paintings and an iconostasis, so it is a valuable example of the synthesis of arts. The mural is characterized by a rich theological program that has no analogues. Here we see the oldest example of Ukrainian iconography of the Akathist of Christ in monumental art. Initially, the north and south walls of the nave were painted in the church. The authorship of this mural is associated with Stefan Popovych Medytskyi, who in 1659 painted the icons of the basement tier in the iconostasis of the church. The mural of 1691 on the theme of the Tree of Jesse, which is located on the outer wall of the choir, is decoratively executed. The church is also decorated with a high five-tiered iconostasis of 1659-1669. Another gem is the chapel in the choirs (on the second tier) with an iconostasis of the 17th century.
Church of St. Nicholas
One of the most interesting and rare churches of the defensive type with the original three-dimensional structure of the late medieval church. It is a brick, two-story, three-tiered (probably originally two-tiered) church with a later added narthex. In 1766, during the construction of the church, a rococo iconostasis with sculptures of saints and bas-reliefs of Aaron and Melchizedek on the deacon's door was made by the students of the genius Galician Rococo sculptor Johann Pinsel, in particular Anton Stiel. Fragments of this iconostasis were distributed during the Soviet regime among the collections of the Lviv Art Gallery, the National Museum, and the Museum of the History of Religions in Lviv. Today, the church has a copy of the ancient iconostasis, recreated in 2001-2004. The side icon to the left of the deacon's door is in the style of Modest Sosenko, the founder of Ukrainian Art Nouveau in Ukrainian art. He also created a highly artistic ensemble of wall paintings in the church, completed on the eve of the First World War in 1913.
Church of the Holy Prophet Illya
The church was built on the initiative of the Orthodox community and Fr. Vasyl Sahan in 1993-1995 according to the project of an architect Yaroslav Andrusiv. Brick, five-tiered, baptismal font in plan. Since 1996, Fr. Yuriy Yurechko has been a priest of the church. In the late 1990s, the iconostasis was carved by Fedir Krupka. The icons were painted by Lyubomyr Zaleskyy. In 2010, the icon painting group "Favor" (Kost Markovych, Ihor Pyrih, Volodymyr Petryshyn) painted the icons on the exterior of the church using the sgraffito technique. In 2011-2019, the same icon painters painted the interior of the church according to the project of Kost Markovych. Ihor Tepliy and Taras Lesiv also took part in the painting. The polychromy of the church is a valuable monument of Ukrainian sacred art of the first half of the 21st century. Stained glass in the windows of the tholobate was made by Taras Balukh.
Church of the Assumption of the Blessed Virgin Mary
The church in the central part of the village. Verkhobuzh, a few dozen meters from the marked source of the Western Bug River, was built in 1730 as a result of the transfer from the nearby town. Zbich. It is one of the most harmonious original monuments of wooden church architecture of Galicia of the cross type with a single helmeted top. The preserved chamber darkened atmosphere of a rural wooden church of the first half of the eighteenth century is fascinating, provided by small window openings of the octagonal drum of the top and the spatial cross frame in the nave and altar. However, the most striking thing is the authentically preserved spirit of the Rococo era in the interior, which, in addition to the stylistic homogeneity of the eighteenth-century furnishings, conveys the unique character of the canonical changes in the structure of the Uniate church caused by the reform of the Zamoysky Council of 1720 and the program of the Basilian order aimed at rapprochement with the Holy See of the Roman Catholic Church.
Church of the Cathedral of the Most Holy Virgin
Pomoryany church of the Cathedral of the Mother of God was built in 1690 - wooden, three-part, three-story, originally with an open gallery and an emporium above the nave, where a small church with a throne was located. The central log cabin is crowned with a large helmet bath, which grows out of a light octagonal drum. The altar and nave are crowned by false bulbous baths that grow directly from the roofs, which is a unique feature in church construction. Galician churches of this type were widespread in the 17th-18th centuries, on the broad outskirts of Zolochiv. A feature of the church is the windows in the northern and southern walls of the nave, each of which is composed of five round windows in the shape of a cross. The nave and nave are girdled with a porch on the outlets, the altar with a girdle on simple pillars; the walls are sheathed with shingles and tightened with foxes. In the interior, the walls were painted (fragments of achromatic wall paintings have been preserved), the iconostasis of the 18th century. In need of restoration, attention is drawn to the altar and side altars of the 18th-19th centuries.
Church of St. Nicholas
The wooden, three-part, three-tier church of St. Nicholas in Sasiv was built in 1731. It originally belonged to a small nunnery, which was closed in 1759 due to the small number of nuns. The church became a parish church. The monastery was famous for the miracle-working icon of the Virgin of Sassia in the 1680s–1710s, which the nuns took with them to the monastery in Slovit (now in the monastery in Lviv). In the interior of the Church of St. Nicholas, there is a beautiful high iconostasis. Its three lower tiers were painted in the 1680s, and the Sunday-Pentecost icons, the Order of Prayer and the Prophets were painted approximately in the 1730s and 1740s. The iconostasis is also distinguished by its skilful carving of decorative elements. The professional manner of painting the icons of the upper tier indicates that they could have belonged to the workshop of the Basilian order monks. The icons of the lower tiers are similar to the works of masters of the Zhovkva and Kamianka-Buzka schools. On the eastern wall of the nave of the church there is a painting from approximately 1730-1740s (partially restored).
Church of St. Paraskeva
The wooden church of St. Paraskeva in Krehiv was built in the second half of the 17th century, modeled after the Church of the Transfiguration of the Krehiv Monastery. In 1724, the church of St. Paraskeva was repaired (rebuilt) by master Ivan Khomyuk. The church is three-part, three-story. Near the church is a wooden belfry from the 18th century, along the lower tier of which was once the entrance to the church yard. The church has a tall six-tiered iconostasis composed of icons from different times: 16th, 17th and 18th centuries. Part of the icons: prophets in the prophetic tier, apostle Peter in the prayer tier is similar in style to the works of Ivan Rutkovych. The medallions with the Archangel and the Mother of God from the 1740s above the king's gates are the work of the Zhovkva master Vasyl Petranovych. The 17th century icon of the Mother of God with Jesus also stands out for its special craft skills, in the central tier of the iconostasis. The decoration of the church is an epistyle from the 16th century, with saints and two not-made Images of the Savior located on the outer wall of the choirs. It was probably originally part of the iconostasis of the old parish church in Krehiv. It is unique in its iconographic program and has no analogues in Ukrainian iconography.
Church of the Holy Martyr Josaphat
The Church of the Holy Martyr Josaphat in Deviatnyky was built in 1904 on the initiative of the village grandfather, Count Kazimir Sheptytsky (Blessed Klymentiy), brother of Metropolitan Andrey. It is located on a hill and is an expressive dominant of the picturesque landscape of the village. In its architectural design, architect Vasyl Nahirnyi combined the Byzantine type of church with the principles of a traditional Galician church. Similar to wooden churches, the Church of the Ninth is surrounded by a wide porch on attached wooden profiled walls. The piercing of the walls of the porch and the decoration of the facades with arched belts and narrow vertical niches in the form of loopholes reminds us of defensive Romanesque architecture. Inside, the church is spacious and majestic, which is given by the dome raised above the octagon and generous lighting. The author of the carved iconostasis of 1937 is the famous carver Andriy Sabaray and the artist Anton Manastyrsky. Unverified information says that the church was painted in 1909 by Modest Sosenko. Perhaps they were destroyed along with the church during the 1918 war. Nowadays, the walls of the church are covered with rather neutral stencil paintings with narrative images.
Church of St. Nicholas
The Teresian-type church was built in 1830 according to the project of Yosyf Vandrushka. In the place of the altar of the ancient wooden church, a memorial roadside chapel of St. Nicholas was erected, which resembles a two-story temple building in a pillar shape. The painting ensemble in the interior of the church - icons and wall painting - was made by Andriy Demkovych, a painter from Staryi Sambir. In the polychromy of the church, Christian meanings are combined with a specially accented secular elements. In particular, in the choirs of the church, the universality of Ukraine is symbolically embodied in the images of the graves of fighters for its will with birch (Western Ukrainian People's Republic) and equal-armed stone (Ukrainian People's Republic) crosses. The carving and painting ensemble of the iconostasis, side altars, Mountain Seat and ark has significant artistic value. The oldest monument of the church is the unique bell of 1638, which was transferred from the previous church.
Church of Saint Ilya
1810 in the village of Stara Ropa, Sambir region, according to the project of Yosyf Vandrushka, the brick church of St. Ilya was built, which is a model of the Teresian-type churches. The church is decorated with polychromy painted by Andriy Demkovych, a painter from Staryi Sambir. Iconostasis of the end of the 19th century, has a rare iconography that combines the image of the prophet Elijah and the Sacred Heart of Christ. In the carving of figurative images, the naive immediacy of the primitivist master attracts attention.
Church of St. Onuphrius of the Basilian Monastery
From the 13th century, the Lavriv monastery complex attracted the attention of princes, church and political figures, scholars, artists, which turned it into a recognized center of spirituality, culture and education in Ukraine. The monastery was a necropolis of spiritual and secular dignitaries, supporters of the cult of St. Onuphrius. According to legend, the chronicled burials of Lev Danylovych and the founder of the Woyshelka-Lavra monastery were located here.
Researchers are particularly interested in architectural and archeological questioning issues when studying the beginnings of the monastery complex. The oldest building of the Lavriv ensemble is the church of St. Onuphrius - the only preserved monastery church of the 13th century in Galicia. Not far away, on Svyatoivanivskyi Hill, traces of an ancient Kyivan Rus fortified settlement have survived, and the chapel of John the Baptist stood until recently.
In the narthex of the Church of St. Onuphrius, notable artistic monuments have been preserved: late medieval frescoes of the first half of the 16th century, fragments of the baroque iconostasis and side altars, carvings by Andriy Koverko, icons by Teofil Kopystynskyi and Karlo Zvirynskyi.
Church of the Holy Silversmiths Cosmas and Damian
The old wooden church of the Saints Kosma and Damian in Khodoriv was built in 1600 and rebuilt in 1798. It was dismantled in 1919. The project of a new stone church was developed by Yakiv Rudnytskyi in 1922. In the same year the foundation was dedicated, but active construction was suspended due to lack of funds. In 1926, the same architect developed a second project, which was implemented. Construction was carried out using the method of vernacular construction. In 1935, the church was consecrated. The final completion of the church was prevented by World War II. The church is seven-story, cruciform in plan, built in the Ukrainian Neo-Baroque style. In the interior, there is an icon of St. Cosmas and Damiana from the 18th century from the old church. There are two icons by Antin Manastyrsky (one from 1934). Iconostasis by Yosyp Pavlyshyn with icons by Karlo Zvirynskyi. Polychromy of 1956-1957 by Roman Khoma (top), Zenoviy Ketsal, Volodymyr Patyk, and Fr. Serhiy Boreiko, with the participation of Yosyp Yarema, Yaroslav Tsybran, and Myron Karpinsky.
Church of St. Nicholas
1906–1911 in the village of Honcharivka in the Zolochiv region through the efforts of the parish priest of the village, Fr. Volodymyr Pidsonsky and, with the voluntary donations of the parishioners, built a large brick church of St. Nicholas. The building is one of the best innovative projects of the well-known Lviv architect Mykhaylo Kovalchuk. During this period, the carving and painting ensemble of the iconostasis was brought to life, icons for which were executed by Antin Monastyrskyi.
The church preserves unique icons and a monstrance from the beginning of the 19th century. Various old prints were transferred from the previous church.
Church of the Transfiguration of the Lord
The brick church of the Transfiguration of the Lord in Sasiv, built in 1895-1898 under the pastor Fr. Simeon Pitushevsky and, according to the project of the architect Vasyl Nahirnyii. It was built because of voluntary donations collected in the region and by the lordship. In 1944, the church was heavily damaged by artillery shelling and did not function until 1989. For the priest, Fr. Vasyl Sagan, the restoration of the temple began. Since 1991, the church has been active and belongs to the Ukrainian Autocephalous Orthodox Church (now Orthodox Church of Ukraine) community. In 1999, Kost Markovych painted the icons of St. Archangel Michael and the Protection of the Holy Mother of God for the side altars. In 2005-2006, Hryhoriy Loik, Ihor Romanko and Mykhailo Holyutyak painted the dome of the church. In 2007-2008, the painting of the rest of the church was carried out by the icon painting association "Kiprian" (now "Obraz") under the leadership of Oleksiy Cherednichenko.
Church of St. Dmytriy
1875 in the village of Volytsia through the efforts of the village priest, Fr. Kornyla Saik built a large wooden church of St. Dmytriy. The structure is one of the best implemented projects of wooden churches by the well-known Lviv architect Sylvester Havryshkevych. The walls of the building are covered with monumental figurative and story scenes made by local painters. The icons of the tall multi-carved iconostasis were made by the famous Ukrainian artist Teofil Kopystynskyi. In the sanctuary of the church, the images of Teofil Kopystynskyi, "Prayer on the Mount of Olives" and "Coronation of the Virgin" are stored, for which funds were offered by local residents.
The icons and the 18th century Gospel, which were transferred from the previous church, have considerable artistic value.
Church of the Assumption of the Blessed Virgin Mary
The Church of the Assumption of the Blessed Virgin Mary was once a towering landmark and an artistic decoration in Kulykiv. As evidenced by ancient photographs, the city had its own Montmartre... Unsuccessful reconstruction, changing the proportions, texture and decor of the facades, distorted the architectural image of the temple beyond recognition. The artistic ensemble of the Church of the Assumption of the Blessed Virgin Mary is an outstanding monument, the iconographic and artistic expressive features of which are determined by the specifics of the cultural and religious borders. It needs the return of past authentic forms.
The church was built in 1901 according to the project of the well-known Lviv architect Sylvester Havryshkevych (co-authored with Mykhaylo Holeyko). The arrangement and ideological program of the church's decoration reflected the desire to preserve the national artistic tradition and cultivate regional spiritual identity. From the beginning of the 19th century, in the previous wooden church, the altar of the end of the 18th century, which was transferred from the Catholic church, was adapted to the requirements of the Eastern rite. The project of adaptation of the ancient monument to the new architectural situation was carried out by the outstanding sculptor Petro Herasymovych. The icons are attributed to Teofil Kopystynskyi.
Church of St. Nicholas
The Church of St. Nicholas in the town of Hlynyany was built in 1894 based on the project of Sylvester Havryshkevych. The temple is perceived as a complete artistic organism, since almost all the elements of the equipment were made in the last decade of the 19th century, and marked by artistic and stylistic unity. The author of church polychromy was Severyn Borachok, who worked here from 1932 to 1934. The young artist, who received professional education at the Krakow Academy of Arts, decided to restore the technology of fresco painting. According to the testimony of the old residents, the parishioners brought milk and eggs daily to work on the wall painting.
In Soviet times, the church was turned into a warehouse, the icons were cut out of the iconostasis, and the windows were smashed. S. Boracek's polychromy was practically lost, a faint shadow with faded colours remained. In 1989, services were resumed in the church. Soon, the parishioners began to notice strange things: the frescoes gradually "restored themselves": the colours became more saturated, and the pattern became clearer.
Such folk tales are a manifestation of historical memory, important evidence of the mythologizing of the local cultural heritage and the encoding in the image-symbol of "self-renewal" of the idea of revival and immortality of the Ukrainian Church.
Church of the Holy Trinity
Under the vaults of the Church of the Holy Trinity in Pomoryany, you can feel the layering of eras, because here, in a single artistic ensemble, sights separated from each other by long centuries are united. A kind of aesthetic declaration guided by the artists when creating a synthetic sacred complex is the continuation of an interrupted tradition, the cultivation of the national artistic heritage. It was the appeal to the ancients that allowed the artists of the end of the 19th century to form a new artistic ideal.
The church was built in 1899–1890 according to the project of Sylvester Havryshkevych. Monuments (iconostasis, side altars, church books and dishes) from the old wooden church of the 18th century were moved to the newly built church. The old iconostasis was reconstructed and supplemented with their own painting by Teofil Kopystynskyi and Kornylo Ustyyanovych. The polychromy was executed in 1921 by the Lviv painter Petro Senyuta.
The building of the Church of the Holy Trinity in Pomoryany is perceived as a complete artistic organism with a perfectly balanced environment.
Church of the Holy Silverless Cosmas and Damian
The Church of St. of Cosmas (Kuzma) and Damian in Tsebliv was built and consecrated in 1871. It is characterized by the harmonious compositional integrity of traditional wooden architecture. The three log cabins are girdled around the perimeter with a wide porch on the eaves of the log cabin crowns, topped by three identical helmets like roofings with lanterns and bulbous crowns with crosses. The name of its builder is Simeon Kozak, who built similar wooden churches in the nearby villages of Hilche and Korchiv. The inner space of the church is opened up to the zeniths of the domes of the nave, the altar and the nave. The walls are covered with paintings from two periods, which are surprisingly well combined. The author of the older ones is the local artist Ilya Petryshyn. His saints are on the walls in the form of illusory sculptures on consoles and in Renaissance aedicules, and Ukrainian angels in embroidered shirts envelop them with their unconditional protection from the domed heavens. Later stenciled geometric ornaments successfully emphasize the architecture of the church and its Ukrainian identity. The wide, four-panel king's door with the evangelists is assembled from two king's doors.
In 2012, on the initiative and efforts of Tsebliv resident Viktor Vergun, the church was included in the State Register of Monuments of Cultural Heritage of National Importance.
The Church of the Assumption of the Blessed Virgin Mary
The Church of the Assumption of the Blessed Virgin Mary in Pustomyty was built in 1909 on the site of a wooden three-story church that burned down in 1898. The church was designed by the kolyator Abramowicz in the Neo-Romanesque style. It is a single-nave, apexless church of the basilica type. In the center of the gable roof above the nave is a closed octagonal lantern with a dome. The altar part is equally wide with the nave and slightly lower. A low vestry is attached to the altar, and a small porch is attached to the front side of the nave. The side walls of the church are enriched by the measured rhythm of small buttresses, between which semicircular window openings are arranged (niches are made in the extreme buttresses of the same shape). The interior is spacious and bright. Its plastered and whitewashed walls and vaults are delicately covered with scenes of religious content, which successfully emphasize the architectural divisions of the building. The high four-tiered iconostasis was made in the 1930s. The icons of its upper tiers belong to the brush of Demian Horyniatkevych, and the local icons were created by Carlo Zvirynskyi.
Church of the Exaltation of the Holy Cross
It is one of the best examples of wooden churches in Ukraine of the medieval tent type. The church was built in 1613. It was a three-story log church, originally one-story, and in 1661 it became two-story due to the construction of the chapel of St. John the Baptist on the emporium above the narthex under a stitch tent roof. Later the chapel was turned into a choir by cutting out the wall between the narthex and the nave. In 1715 the building was renovated, and in 1823 it was repaired and weighted. The tempera mural in the interior is of different periods - the oldest, from the beginning of the XVII century, by the brush of the master Hryhoriy (?), has been preserved along the perimeter of the faces of the altar part. The chapel on the emporium was painted in 1672 by Ivan Kobrynovych, and the eastern wall of the nave was painted in 1736. The chapel's iconostasis was painted in 1669 by the popish painter Stefan Medytskyi, and some icons were added by his son Ivan Medytskyi in 1694. The lower tiers of the iconostasis in the church are from the first third of the seventeenth century, while the upper tiers date back to 1780. The large four-tiered wall altar of the mid-seventeenth century has highly artistic decoration of the Lviv carving school of Mannerism. Since 1987, the church has been used by the Department of Wooden Architecture Monuments of the Drohobychyna Museum.
Church of the Transfiguration of the Lord
The Church of the Transfiguration of the Lord in Boryslav-Tustanovychi was built in 1907-1908 by architect-engineer Melnychuk and the efforts of the parish priest Fr. Ivan Dashkevich. It is a one-story cross-shaped building with architectural decoration of the facades in the Neo-Romanesque style.
The temple is perceived as an indivisible aesthetic organism, since the interior was decorated according to a stylistically coherent artistic program of 1909. The church's furnishings (iconostasis, pulpit, High Seat, and side altars) were carved by Lviv master Andriy Sabaray. The iconostasis was painted by the outstanding Ukrainian artist Antin Monastyrsky. At the same time, the walls of the church were being decorated. The image of the Equal-to-the-Apostles Volodymyr and Olha, the Baptists of Ukraine, became a kind of marker of national identity in the church's polychrome.
Church of Saints Volodymyr and Olha
One of the bright examples of masonry church architecture is the mature author's style, the iconic embodiment of architect Yevhen Nahirnyii's practice. It was created in the form of early constructivism in 1935-1938. It is a majestic three-nave, cross-domed church of considerable size, with an expressive arrangement of geometric volumes of an isosceles spatial cross, to which two exquisite monumental towers, square in plan, are attached from the north and south-west. All three tops of the temple and its western pediment are crowned with open work octagonal lanterns. In the interior, attention is drawn to the modern highly artistic ensemble of wall paintings and laconic stained glass compositions in the windows, originally treated in a constructivist manner. The monumental painting in the concept of modern neo-Byzantineism was executed in the early 2000s by the artists of the art association "Image" under the leadership of the famous modern artist Oleksiy Cherednichenko.
Church of the Assumption of the Blessed Virgin Mary
The Church of the Assumption of the Blessed Virgin Mary in Hlynyany is a witness of our history, a masterpiece of national art, as well as a sacrum with a special aura and energy that has been painted over generations. A small wooden structure was built in the centre of the town in 1749. It remained intact during several major town fires. At the beginning of the 20th century, the condition of the building was really threatened and it was decided to dismantle and burn it. Church monuments in the interior of the church needed restoration, especially the altar image of the "Crucifixion" of the 18th century, which had darkened so much that it was impossible to read the image.
A miracle helped save the sacred ensemble. On the holiday evening of 1936, the "Crucifixion" began to glow, and three weeks later it appeared before the amazed faithful were completely restored. In 1938, Pope Pius XI crowned the icon, and later Metropolitan Andrey Sheptytskyi granted the church the right of dispensation. The renovation of the "Crucifixion" saved the church and its treasures from destruction, in particular, the iconostasis of the first half of the 18th century.
Church of the Holy Archangel Michael
One of the best majestic examples of church architecture of the interwar period, designed by Ivan Levynskyi's nephew Lev Levynskyi in 1936-1941 in the spirit of searching for a bright monumental image and expressive silhouette of the Ukrainian church, based on the principles of rethinking Byzantine-Romanesque architecture and Cossack Baroque. It is an example of Lev Levynskyi's late authorial style, when the architect reached the maximum in the realization of his concept of monumental church architecture. The main decoration of the church interior is an ensemble of 33 stained glass compositions created in a laconic stylistic manner with the addition of diamond cross compositions based on constructivist principles. The stained-glass windows with the images of St. Nicholas, the Archangel Michael, and especially Josaphat Kuntsevych are particularly noteworthy. The interior painting of the church was created in two historical stages - in the late 1970s and in the early twenty-first century. The high four-tiered iconostasis contains icons painted by Karlo Zvirynskyi.
Church of the Holy Archangel Michael
This is the first example of Ukrainian Art Nouveau in monumental church mural painting not only in Galicia but also in Ukraine, created in 1908-1909 by the founder of this artistic movement, the prominent artist Modest Sosenko. Together with the preserved complex of stained-glass windows in the altar of the same artist, the mural forms a homogeneous iconographic ensemble of the church's interior. It was the monumental paintings in this church that made M. Sosenko famous throughout the region.
At the end of the nineteenth century in Pidberiztsi, on the site of the old wooden church, it became necessary to build a new, brick church. The architectural and design bureau of Ivan Levynskyi, a prominent Ukrainian urbanist and the largest builder of Lviv in its history, was involved in the construction. The architectural forms, planning and spatial solutions, and the entire complex of decorative and finishing works both in the exterior and interior of the church of 1891 were performed by the enterprises of this prominent architect. The result is a somewhat unusual cross-domed church building with shortened side frames, but a very long nave, which, together with the narthex, forms an elongated basilica-like space. Triangular pediments close all the frames of the church's spatial cross, with the exception of the eastern semicircular altar part. It is designed in the form of a medieval Romanesque rotunda with a rose window in the center. Above the middle aisle.
