Managerial and creative Heritage of Metropolitan Andrey Sheptycky and SerhiyLytvynenko (To the approval of and renovation of newly discovered landmarks of national art centers)

The article presents facts that substantiate the temporal and complex territorial continuity of the above-mentioned centers of historical and cultural heritage as a single holistic process. The first period of the activity of the Icon-Painting School of the Studite Monks is revealed in the general context of art and educational initiatives of the time. The idea of creating an orphanage with an educational artistic and craft orientation was implemented by the monks of the Studite Order of the UGCC. According to archival materials and maps of land plots in the Znesinnia area, A. Sheptytsky withdrew approximately one hundred hectares of land, which included 42 mortgage entries of various plots. Among these were lands, buildings, and quarries that are currently part of the Lviv Experimental Ceramic and Sculpture Factory located at 32 Muchna Street. He transferred these properties to the St. Ivan’s Lavra of the Studite Order in Lviv. The school began its activities in 1927 through an agreement between Abbot Klymenty Sheptytsky and the artist Mykhailo Osinchuk. On October 15, 1929, the artist Vasyl Dyadynyuk joined the teaching of icon painting. Thus, the teaching was conducted in six departments: painting, engraving, gilding, preparatory, carving, and carpentry. The first educational and creative frescoes were considered in the school’s first building. 
It is proven that the activities of Metropolitan Sheptytsky and Serhiy Lytvynenko further influenced the fate of Ukrainian art education and the formation of art industries in Lviv and abroad. The history of the emergence of the factory, famous in world art circles of the 20th century, is reviewed. According to numerous newly discovered historical sources, it begins not in the post-war Soviet period after 1946, but in 1933. The currently existing historical information about the founding of the Lviv Experimental Ceramic and Sculpture Factory has been reviewed. Facts are presented that correspond to a single causal processes involved in the creation of art educational centers of national significance in Lviv and among the émigré community after the war.
In particular, the unbroken continuity of establishing the Icon Painting School, the «OKO» Ceramic Workshop, the LECSF, and the Higher Fine Arts Courses as objects of the integral artistic and cultural heritage of the 1930s is investigated. S. Lytvynenko, together with graduates of the ceramic schools of Galicia, laid the foundations of a new art industry «on the ruins” of the old I. Levynsky factory. The facts of the activities of S. Lytvynenko’s students are introduced into scientific circulation. Especially Yakiv Chaika, a scholar of A. Sheptytsky, a sculptor and the first chairman of the Art Council of the LECSF in the Soviet period. New information is provided about the first monuments and orders for ceramics in the workshops of the factory, the presence of artifacts in museum collections in Lviv and the USA. It is proved that the idea of reviving the traditions of the I. Levynsky factory in the 30s of the 20th century was the result of the interaction of artists from Poltava, Myrhorod, Lviv, Krakow, Kolomyia, Tovste and their subsequent work in emigration.
The analysis of art education initiatives during World War II is now comprehensively documented for the first time. Among these initiatives, the establishment of the Higher Fine Arts Studio in Lviv in 1941 stands out, (rector V. Krychevsky, dean S. Lytvynenko), then art schools in camps for displaced persons in Germany (1945–1948) and the USA. Cultural creativity during these challenging times encompassed fine arts, folk applied arts, music, theater, ethnography, and literature.
The board of the Lviv regional organization of the National Union of Artists of Ukraine has proposed that the heritage of the currently operating LECSF be included in the register of newly discovered historical monuments. The renovation of cultural industries into a «Museum Space» is also significant as it honors the legacy of sculptors, glass, and ceramic artists from 30 countries who worked at LECSF in the 1980s and 1990s. Possible prospects in the field of eco-design, decorative arts and crafts, and current artistic practices are outlined. The social, cultural and environmental impact of such prospects involves the creation of an environmentally friendly system of mainly handmade production, sculpture, eco-design, based on the revival of decorative arts and traditional crafts of the Lviv region and Ukraine.