Folk icon painting has its continuation in the work of professional masters of our time, so The peculiarities of the author's style in the icons on glass by Volodymyr Lukan have not only a folk basis, but also a deeply philosophical vision through the prism of the canon, of the sacred world of the author's style. The artist is a vivid example of the formation of a creative personality through the study and cognition of folk iconography. On the The stages of formation of the artist's artistic skill and, as a result, the recognition of V. Lukan's authorial style are analyzed. The technical aspects of the execution of icons on glass, inherent in this artist, the artistic features of the icons themselves and their design, indicating the artist's creative approach, are analyzed, the search for novelty in art and the integrity of the image thanks to the creative ideas of V. Lukan.The individual iconographic works of the artist from different typological groups ("Holy Trinity", "The Intercession", "The Parable of the Prodigal Son", "The Transformation of Water into Wine") and analyzed their features. The position of the artist on contemporary iconography, its canonicity and degree of canonicity and the degree of interpretation of folk icons, critical remarks on the work of contemporaries, etc. The exhibition activities and participation in art projects ("Still Lifes" (2009), the artistic assemblage "Trace" in 2014, the exhibition "Ar(t)heology", "Garbage" - an artistic thematic collage). The artist's public activities and the creation of artistic associations to popularize the works of young artists testify to about the support and popularization of Ukrainian art in general. Conclusions are drawn about the author's personal artistic approach through technical innovations in icon painting in parallel with the imitation of folk icon on glass, with its compositional and figurative features. The spiritual aspect of the icon painter's formation, his vision of the ways of development of modern icon painting, methods of self-improvement presented in the article can become a source for research and discussion. For the first time, the author examines the creative approach of the iconographer, analyzes the technical and spiritual components in in the formation of the peculiarities of Volodymyr Lukan's iconography. In addition to analyzing the creative work, through field collection of material in museums of the Carpathian region (Ivano-Frankivsk, Dolyna) and private collections (collection of the Brynsky family), the materials of an interview with the iconographer were used, which allows us to understand more deeply the philosophical component in the artist's painting of icons on glass. The study of this particular iconographer makes it possible to a comprehensive analysis of interpretations of folk traditions in the iconography of the twentieth and twenty-first centuries and their development in the context of popularizing folk iconography of Ukraine
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