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Scientific research on topics related to Ukrainian sacred art.

Aleksandrovych, V. (2008). Engraved icons from the collection of Volodymyr Vuitsyk in the funds of the Scientific Library of the Ivan Franko Lviv National University. Visnyk Lvivskoho Universytetu: Knyhoznavstvo, Bibliotekoznavstvo ta Informatsiini Tekhnolohii, 3, 229–237. [In Ukrainian].
Aleksandrovych, V. (2011). Icons from the times of Prince Lev Danylovych. Ukraina v Tsentralno-Skhidniy Yevropi, (11), 307–326. Kyiv: Institute of Ukrainian History. [In Ukrainian]
Aleksandrovych, V. (2011). Reinterpretation of Kholm and Kyiv iconography of the 13th century in the temple icon of the Protection of the Mother of God from the Church in Androniv near Kobryn (early 18th century). Ukraina: Kulturna Spadshchyna, Natsionalna Svidomist, Derzhavnist, (20), 55–71. [In Ukrainian].
Aleksandrovych, V. (2012). A new example of monumental painting of the early Paleologian type in the icon of the Mother of God from the Church of St. Michael in Isai. Kniazha Doba: Istoriia i Kultura, (6), 219–259. [In Ukrainian].
Aleksandrovych, V. (2014). Two styles of the oldest icons of Przemyśl. Knyazha Doba: Istoriya i Kultura, (8), 271–298. [In Ukrainian]
Aleksandrovych, V. (2020). The engraving of Ivan Pylypovych from the Lviv Liturgical Book of 1759 – The original of the 1779 icon “St. Basil the Great.” From the History of the Western Ukrainian Lands, 16, 3–16. [In Ukrainian].
Baboș, A. (2020). The canvas icon “The Passion of Christ” from Sârbi Susani, Maramureș: A 17th-century work from the painters’ workshop in Kolomyia. Acta Musei Maramorosiensis, 16, 583–603. [In Romanian]
Baboș, A., & Covaci, M. (2020). Research report on paintings in wooden churches of Maramureș. Acta Musei Maramorosiensis, (XVI), 604–619. [In Romanian]
Bakovych, O. (2014). Painter of the iconostases of the churches of the Nativity of the Blessed Virgin Mary in Novosilka, Koziv district, St. Nicholas in Kalne, and the Resurrection of Christ in Kalne, Zboriv district, Ternopil region. Narodoznavchi zoshyty, (5)119, 967–974. [In Ukrainian]
Bakovych, O. (2018). Iconostasis of the Church of the Presentation of the Blessed Virgin Mary in the Temple, Rekshyn, Berezhany district, Ternopil region: Artistic and compositional features. Narodoznavchi Zoshyty, (3), 651–655. [In Ukrainian].
Bakovych, O. (2018). The theme of “Christ’s Appearance to St. Peter of Alexandria” in mid-18th to early 19th-century iconostases of Eastern Opillia: Iconographic and artistic features. [In Ukrainian].
Bakovych, O. (2019). Typology of iconostases in the churches of Eastern Opillia in the mid-19th century. Narodoznavchi Zoshyty, (6), 1510–1516. [In Ukrainian].
Beniakh, N. (2017). A little-known icon “Protection of the Mother of God” in the context of Mikhailo Boychuk’s sacred works. Visnyk Lvivskoi Natsionalnoi Akademii Mystetstv, 32, 101–114. [In Ukrainian].
Boliuk, O. (2011). Basics of systematization of wooden furnishings and architectural elements of church interiors. Narodoznavchi Zoshyty, (4), 671–679. [In Ukrainian].
Boyarko-Dolzhenko, V. (2013). Symbolic perspective and problems of homogeneity of artistic space (on the material of Ukrainian painting of the 13th–15th centuries). Visnyk Lvivskoi Natsionalnoi Akademii Mystetstv, (24), 174–187. [In Ukrainian].
Burkovska, L. (2011). The Volyn icon of the Assumption of the Mother of God of the mid-17th century from the NMNA collection. Studiï Mystetstvoznavchi, (1), 69–78. [In Ukrainian].
Druziuk, H. (2022). Scenes of the Pentecost cycle in the 16th-century festive tier of the iconostasis of the Church of St. Michael the Archangel in the village of Stara Skvariava. Hraal Nauky, (17), 541–543. [In Ukrainian].
Druziuk, H., & Skop, L. (1990). The history of the creation of the altar screen in the Assumption Church in the village of Novoselytsia in Zakarpattia. Cultural Monuments: New Discoveries. Annual. Moscow: Nauka, 204–218. [In Russian].
Druziuk, H., & Skop, M. (2022). Ivan Rutkovych’s icon “Mother of God Hodegetria” from the Kamianka-Buzka district: Artistic features, attribution, and iconography. Narodoznavchi Zoshyty, (1[163]), 36–49. [In Ukrainian].
Dumitran, A., & Somak, O. (2023). The icon of St. John the Baptist with scenes from his life from Budești-Josani. In Sub Semnul Artei: Studii în Onoarea Academicianului Marius Porumb la 80 de Ani (pp. 293–302). [In Romanian]
Dyba, Y. (2006). Architectural prototypes of iconographic depictions of “kumnyrnytsi” in the 15th–17th centuries. Studiï Mystetstvoznavchi, (3), 51–61. [In Ukrainian].
Fedak, M. (2013). Dated icons of the Last Judgment from the collection of the National Museum in Lviv named after Andrey Sheptytsky. Bulletin of Lviv University. Series: Art Studies, 13, 182–198. [In Ukrainian].
Fedak, M. (2014). Astronomical motifs in Ukrainian icon painting. In Ukrainske Nebo: Studii nad Istoriieiu Astronomii v Ukraini (pp. 211–225). [In Ukrainian].
Fedak, M. (2017). Iconographic peculiarities of the “The Icon of the Mother of God The Unfading Flower” image in Ukrainian icon painting of the 16th–18th centuries. Studii Mystetstvoznavchi, 4, 44–53. [In Ukrainian].
Fedak, M. (2017). The iconostasis from the late 16th–early 17th centuries from the Church of St. Nicholas in Turie, Stary Sambir District. Visnyk Kharkivskoi Derzhavnoi Akademii Dyzyinu i Mystetstv, (6), 90–98. [In Ukrainian]
Fedak, M. (2021). Artistic and iconographic features of the works of the master of the “Transfiguration of the Lord” icon from the Church of the Annunciation of the Blessed Virgin Mary in the village of Yabluniv, Turkivshchyna. Narodoznavchi Zoshyty, (3[159]), 675–688. [In Ukrainian].
Frankiv, U. (2017). Icons by Marko Shestakovych Domazhyrsky from the collection of the Museum of Folk Architecture and Rural Life in Lviv named after Klymentii Sheptytskyi. Istoriya Religiy v Ukraini, (27[2]), 182–191. [In Ukrainian]
Gelitovych, M. (2014). The miniatures of the Khyshchyvychiv Gospel of 1546 in the context of Ukrainian painting of the mid-16th century. Narodoznavchi zoshyty: Seriia mystetstvoznavcha, (6), 1203–1210. [In Ukrainian]
Gronek, A. (2007). On the evangelical motif in Byzantine-Ruthenian paintings in the presbytery of the Wiślica collegiate church. In Doctus Artifex: Studies Offered to Professor Jerzy Gadomski on His Seventieth Birthday (pp. 179–188). Kraków. [In Polish]
Gronek, A. (2007). The graphic design of 18th- and 19th-century Pochayiv Prayer Books as an expression of Western interpretation of the Liturgy of the Hours. Series Byzantina, 5, 136–142. [In Polish].
Gronek, A. (2012). A window to the transcendent or the real world? On modern features in icon painting of the Vishnia environment. Studia o Kulturze Cerkiewnej w Dawnej Rzeczypospolitej, 307–319. [In Polish]
Gronek, A. (2012). Arbor Virginis in the Western Rus’ icon painting as an expression of belief in the Immaculate Conception of the Blessed Virgin Mary? Apologet, 61–69. [In Polish].
Gronek, A. (2013). Conservatism and innovation: Some remarks on icon painting in the Przemyśl diocese in the 16th century. In Procesy Przemian w Sztuce Średniowiecznej: Przełom, Regres, Innowacja, Tradycja: Studia z Historii Sztuki (pp. 279–292). Warszawa: Stowarzyszenie Historyków Sztuki. [In Polish]
Gronek, A. (2014). The Sacrament of the Anointing of the Sick and its depiction in West Ruthenian art during the era of inter-confessional polemics: A contribution to research on the occidentalization and Latinization of Ruthenian culture. Latopisy Akademii Supraskiej, (5), 121–143. [In Polish]
Gronek, A. (2014). Theotokos as the Ruler of Heaven: On the Marian image in the sanctuary of the Church of St. Onuphrius in Posada Rybotycka. In M. Dyras, B. Suchoń-Chmiel, & T. Kwoka (Eds.), Symbols of Power. Power of Symbols (pp. 135–144). Kraków. [In Polish].
Gronek, A. (2019). On the Deesis row of the iconostasis from the Church of the Dormition in Lviv. In Studia o Kulturze Cerkiewnej w Dawnej Rzeczypospolitej (Vol. 2, pp. 33–44). Kraków. [In Polish]
Gronek, A. (2020). Circumcision of Jesus in the Eastern Church of the former Polish-Lithuanian Commonwealth: Celebration, content, iconography. Latopisy Akademii Supraskiej, 105–125. [In Polish].
Gronek, A. (2022). Icons from the Carpathian Mountains region in the ‘Spiritual Treasure of Ukraine’ Museum in Kyiv. Museikon, (6), 137–142. [In Polish].
Gronek, A. (2023). From high art to cottages: The theme “Vigilant Emmanuel” in 19th-century Ukrainian icon painting. Narodoznavchi Zoshyty, (4), 677–691. [In Polish].
Helitovych, M. (2019). The iconostasis of the Church of the Dormition of the Blessed Virgin Mary in Nakonechne – The most complete iconostasis ensemble of the 16th century. Bulletin of the Lviv National Academy of Arts, 39, 73–88. [In Ukrainian].
Helytovych, M. (2019). Three folk painters of the late 16th–early 17th century. Studii Mystetstvoznavchi, (2), 23–37. [In Ukrainian].
Helytovych, M. (2020). Ukrainian icons of the late 15th – early 20th centuries from the “Studion” collection in the National Museum in Lviv named after Andrey Sheptytsky. Zapysky Lvivskoi Natsionalnoi Naukovoi Biblioteky Ukrainy imeni V. Stefanyka, (12), 280–298. [In Ukrainian].
Helytovych, M. (2022). Icons of the early 17th century from the festive row of the iconostasis of the Church of St. Paraskeva in Malniv. Narodoznavchi Zoshyty, (4[166]), 910–917. [In Ukrainian].
Herii, O. (2009). Ornamentation on the background and borders of Ukrainian icons of the 16th century: The problem of the decorative system of Renaissance iconostases. Narodoznavchi Zoshyty, (3–4), 330–336. [In Ukrainian].
Himka, J.-P. (2017). The icons of the village of Bortne. In Bortne – Selo z Kaminnya (Vol. 1, pp. 217–243). [In Ukrainian].
Holly, G. (2012). The cult of St. Michael the Archangel on the Polish-Slovak-Ukrainian borderland. Peregrinus Cracoviensis, 23, 91–120. [In Polish].
Hrotovskyi, P. (2009). Fresco of the nave of the Church of St. Onuphrius in Posada Rybotytska: Introductory remarks. Studiï Mystetstvoznavchi, (3), 40–69. [In Ukrainian].
Jamski, P., Michalczyk, Z., & Nowicki, J. (2023). A 17th-century iconostasis in the Church of St. John the Theologian in Nowoberezowo: A discovery by the Catalog of Art Monuments in Poland team. Biuletyn Historii Sztuki, (85[3]), 109–143. [In Polish].
Janocha M. Ruskie i Rosyjskie Ikony Hodegetrii. Salvatoris Mater. No 10/1, 2008. S. 153—172.
Kanarska-Lutsan, O. (2010). Icons of the “Mandylion” from the collection of the Volodymyr-Volynskyi Local History Museum. Mystetstvoznavstvo i Doslidzhennia, 52–61. [In Ukrainian].
Konstantynenko, K. (2019). Ucraina tra forme e colori: una trasformazione dei percorsi storici. In A. Franco & O. Rumyantsev (Eds.), L’Ucraina alla ricerca di un equilibrio. Sfide storiche, linguistiche e culturali da Porošenko a Zelens’kyj (pp. 165–188). Venezia: Edizioni di Ca’ Foscari-Digital Publishing. [In Italian].
Kovtsuniak, S., & Zastavetskyi, M. (2010). Ideological and content accents of iconography during the period of Ukrainian Baroque. Ukrainske Relihiieznavstvo, 54, 136–146. [In Ukrainian].
Krainia, O., & Onoprienko, N. (2022). The icon of the Virgin Mary of Rudnia and its “exact replica” from the collection of the National Reserve “Kyiv-Pechersk Lavra.” Kyivski Zbirnyky Istorii, Arkheolohii, Mystetstva ta Pobutu, (1[3]), 66–90. [In Ukrainian].
Kułak, A. (2010). Altar or iconostasis? On the furnishings of Podlasie churches at the beginning of the 18th century. In R. Dobrowolski & M. Zemło (Eds.), Acta Collegii Suprasliensis: Śladami unii brzeskiej (pp. 577–586). Lublin-Supraśl. [In Polish]
Lesiv, A. (2018). Traitor or victim: Judas Iscariot in Ukrainian art of the 15th–18th centuries. Bulletin of the National Academy of Sciences of Ukraine, 3, 85–91. [In Ukrainian].
Levitska, M. (2019). Features of Marian iconography in the Assumption Cathedral Church of Pochayiv Monastery. Culture and Art of the Western Ukrainian Lands, 331–360. [In Ukrainian].
Levytska, M. (2023). Development of the iconography of the Immaculate Conception of the Virgin Mary in Ukrainian art of the 18th century. Narodoznavchi Zoshyty, (169), 163–180. [In Ukrainian].
Levytska, M., & Lesiv, A. (2021). Artistic evolution of apostles’ images in Ukrainian icon painting of the 17th–18th centuries through the prism of cultural transfer theory. Narodoznavchi Zoshyty, (4[160]), 900–908. [In Ukrainian].
Matushek, O. (2015). The image of the Virgin Mary in Ukrainian literature of the second half of the 17th century. Humanitarna Osvita u Tekhnichnykh Vyshchykh Navchalnykh Zakladakh, (23), 169–180. [In Ukrainian].
Matytsyn, O. (2010). Ukrainian icons of the 15th–16th centuries as an expression of the religious identity of the Ukrainian people. Naukovi Zapiski Natsionalnoho Universytetu “Ostroh Academy”: Kulturologiia, (5), 513–523. [In Ukrainian]
Olanina, S. (2014). The iconostasis of the Transfiguration Cathedral of the Kyiv-Mezhyhirya Monastery. Heritage of Ukraine, 9, 34–41. [In Ukrainian]
Oliianina, S. (2019). The iconostasis as a vision of the Heavenly Jerusalem. Khudozhnia kultura: Aktualni problemy, 15(2), 46–53. [In Ukrainian]
Oliyana, S. (2019). The iconostasis as an image of the Garden of Paradise. Cultural Thought, 16, 36–45. [In Ukrainian].
Olyanina, S. (2011). The iconostasis of the Ascension Church in Berezna: A lost artwork of the Baroque era. Ukrainska Khudozhnia Kultura: Pamiatkookhoronni Problemy, 40–103. [In Ukrainian].
Olyanina, S. (2012). The iconostasis of the Annunciation Church of the Michael’s Monastery of the Vydubychi Monastery: Dating issues. Mohylyanski Chytannia. Natsionalnyi Kyiv-Pecherskyi Istoryko-Kulturnyi Zapovidnyk, 260–266. [In Ukrainian].
Olyanina, S. (2013). Typology of acanthus forms in the ornamentation of 17th–18th-century iconostases. Khudozhnia Kultura. Aktualni Problemy, (9), 262–291. [In Ukrainian].
Olyanina, S. (2016). The World Tree on royal doors: On the interpretation of the symbolic design of Ukrainian iconostases of the 17th–18th centuries. Naukovi Zapiski NaUKMA: Teoriia ta Istoriia Kultury, (179), 32–41. [In Ukrainian].
Olyanina, S. (2016). Under the wings of God: The symbolism of the heraldic eagle in Ukrainian iconostases of the 17th–18th centuries. Kulturologichna Dumka, (9), 92–104. [In Ukrainian].
Olyanina, S. (2019). Ukrainian iconostasis: From functional construction to architectural frame. Visnyk Natsionalnoi Akademii Kerivnykh Kadriv Kultury i Mystetstv, (1), 374–378. [In Ukrainian].
Olyanina, S., & Svitlychna, N. (2015). The 17th-century iconostasis of the Kyrylivska Church in Kyiv: Historical transformations of the monument’s artistic image. Sophia Readings, 7 (pp. 341–352). Kyiv: NIKZ Sophia Kyivska. [In Ukrainian].
Osadcha, O. (2010). Ukrainian domestic icons of the late 18th–20th centuries as an ethnocultural phenomenon (history, typology, artistic features) [Abstract of PhD dissertation]. Ivano-Frankivsk. [In Ukrainian]
Osadcha, O. (2015). The category of image-paradigm in the context of the development of Christian themes in contemporary Ukrainian art. Virtus, 3, 27–29. [In Ukrainian].
Osadcha, O. (2016). The function of the Ukrainian household icon in creating the iconic image of a peasant home in the late 18th–early 20th centuries: Experience of the hierotopic method of research. Suchasni Problemy Doslidzhennya, Restavratsii ta Zberezhennya Kulturnoi Spadshchyny, (12), 102–116. [In Ukrainian].
Osadcha, O. (2018). The structural-spatial scheme of the Tree of Life in the topographic iconicity of city-temple-icon-human. Ukrainska Akademiia Mystetstva, (27), 178–187. [In Ukrainian].
Otkovych, T. (2011). Iconographic program and origins of the iconostasis from the Skyt Manyavskyi Monastery (Bohorodchany Iconostasis, 1698–1705) by Hieromonk Job Kondzelevych. Narodoznavchi Zoshyty, (6), 986–998. [In Ukrainian].
Pap, S. (2017). Icons and iconography in Transcarpathia. Visnyk Zakarpatskoi Akademii Mystetstv, (9), 165–178. [In Ukrainian].
Pelekh, M. (2013). Prophetic tier of the iconostasis of the Assumption Church in Lviv at the beginning of the 17th century (Hrybovytsky iconostasis). Narodoznavchi Zoshyty, (1), 105–111. [In Ukrainian]
Pelekh, M. (2015). Development of symbolism and iconography in the iconostases of Galicia in the 17th–18th centuries. Visnyk Zakarpatskoho Khudozhnoho Instytutu, (7), 82–86. [In Ukrainian]
Poliushko, H. (2016). Ancient Kyiv icons of St. Nicholas Mokryi and St. Nicholas Pustynskyi: Searching for lost rarities. Kulturolohichna dumka, (10), 177–188. [In Ukrainian]
Popovych, Ya. (2014). Catholic icons in the pilgrimage cult. Relihiia ta Sotsium: Mizhnarodnyi Chasopys, 1–2 (13–14), 284–290. [In Ukrainian].
Puskás, B. (1989). The Mother of God with the child Jesus: Representations in the icons of the Northeastern Carpathians. Művészettörténeti Értesítő, (1–4), 23, 66–88. [In Hungarian].
Puskás, B. (1991). “The one named after victory”: On the iconography of St. Nicholas based on 15th–16th-century Carpathian icons. Annales de la Galerie Nationale Hongroise: A Magyar Nemzeti Galéria Évkönyve, 249–255. [In Hungarian].
Puskás, B. (1996). Pócsi Mary and the icons of the Virgin Mother of God in the Carpathian region. Studia Postbizantina Hungarica VI, 97–115. [In Hungarian].
Puskás, B. (2001). The art of the Greek Catholic Church in historical Hungary: The history of research and current issues. Örökség és Küldetés, 207–226. [In Hungarian].
Puskás, B. (2002). Taraszovics Bazil, Bishop of Mukachevo (1633–1651), and two antimensia. Annales de la Galerie Nationale Hongroise: A Magyar Nemzeti Galéria Évkönyve, 1997–2001, 59–68. Budapest. [In Hungarian].
Puskás, B. (2003). The Mandylion of Lukov in the iconography of icons from the Carpathian region in the 15th–16th centuries. Acta Historiae Artium Academiae Scientiarum Hungaricae, 44, 71–80.
Puskás, B. (2012). Iconography of Greek Catholic martyrs’ depictions. Szeged Religious Ethnography Library, 129–142. [In Hungarian]
Puskás, B. (2012). The iconography of Greek Catholic martyrs’ depictions. Szegedi vallási néprajzi könyvtár, 129–142. [In Hungarian]
Puskás, B. (2016). The significance of the landscape in iconography. In Krajobraz Semantyczny Wsi i Miast (pp. 225–236). Kraków. [In Ukrainian]
Puskash, B. (2003). Depictions of the Passion of Christ in the iconography of the Carpathian region. Studia Postbizantina Hungarica VI, 94–108. [In Russian].
Rishniak, O. (2020). Patyna v chasovykh transformatsiiakh tvoriv mystetstva yak materialna oznaka mynuloho [Patina in temporal transformations of art as a material sign of the past]. Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv, (3), 93–103. [In Ukrainian].
Shapiro, O. (2024). St. Archangel Michael – Our defender and patron of Kyiv. Worldview, 1 (105), 28–43. [In Ukrainian].
Shevliuha, O. (2015). To the sources of the Ukrainian iconostasis. Suchasni Problemy Doslidzhennia, Restavratsii ta Zberezhennia Kulturnoi Spadshchyny, 11, 365–376. [In Ukrainian].
Skop P. Ivan Rutkovych – the author of the icon “Exaltation of the Holy Cross” from the village of Sytikhova. Ukrainian Greek Catholic Church and Religious Art: Historical Experience and Problems of Modernity. 2. 2003. P. 148-150
Skop-Druziuk, H. (1997). Fedusko, a painter from Sambir, and the Sambir Icon Painting School of the second half of the 16th century. Sacred Art of Boykivshchyna. Scientific Readings in Memory of Mykhailo Dragan, 85–91. Drohobych: Vidrodzhennia. [In Ukrainian]
Skop-Druziuk, H. (1997). Iconographic features of The Holy Face in the works of Yov Kondzelevych. Volyn Icon: Issues of History, Study, Research, and Restoration, 26–31. Lutsk. [In Ukrainian]
Skop-Druziuk, H. (1999). The icons Child Christ teaching at the Temple and Healing of the Blind from the mid-16th-century iconostasis of the Church of St. Michael in Stara Skvariava. History of Religion in Ukraine: Materials of the 9th International Conference, May 11–13, 1999, 230–232. Lviv. [In Ukrainian]
Skop-Druziuk, H., & Skop, L. (1992). Consecration crosses and their artistic features. Religion in Ukraine, 58–74. [In Ukrainian].
Skop-Druziuk, H., & Skop, L. (1995). Fedusko the painter from Sambir and the Sambir icon-painting school of the second half of the 16th century. History of Religions in Ukraine (Vol. 5), 429–432. [In Ukrainian].
Skop-Druziuk, H., & Skop, L. (1995). The icon “Warrior Queen” 1748 from the village of Sapohiv in Ternopil region. In Pochaiv Monastery in the Context of the History and Spirituality of the Ukrainian People, 81–86. [In Ukrainian].
Skop-Druziuk, H., & Skop, L. (1995). The image of the Virgin Mary in the works of the Drohobych icon painter of the late 16th – early 17th century, Fedko (), the author of the icon Hodigitria with the Praise from the village of Mrazhnytsia in the Drohobych region. The Virgin Mary and Ukrainian Culture, 58–60. [In Ukrainian].
Skop-Druziuk, H., & Skop, L. (1996). The child’s sarcophagus from the times of King Danylo of Halych. Byzantium. Identity. Image, Influence. Copenhagen. [In English].
Skop-Druziuk, H., & Skop, L. (1999). The child’s sarcophagus of the era of Danylo of Halych. Vizantiyskiy Vremennik, 58 (83), 172–177. Moscow: Nauka. [In Russian].
Skop-Druziuk, H., & Skop, L. (2001). Serhii S. Fmai Reliquary of St. Aront the Martyr. Byzantium of the 11th century. Ukrainian Sacred Art Traditions, Modernity, Perspectives, 97–115. [In Ukrainian].
Skop-Druzyuk, H. (1997). The mid-16th century iconostasis from the Church of St. Michael the Archangel in Stara Skvaryava. Sacral Art of Boykivshchyna: Second Readings, 123–127. [In Ukrainian].
Skop-Druzyuk, H. (1998). Iconographic Features of the Drohobych Icon Jesus Christ with Archangels by Fedusko the Painter from Sambor. Drohobych Churches of the Exaltation and St. George in Research. First Readings (pp. 46–59). Drohobych Vidrodzhennia. [In Ukrainian].
Skop-Druzyuk, H. (1998). Restoration and research of the Deisis tier of the iconostasis of the middle of the 16th century from the village of Stara Skvariava. In Restoration of museum monuments in modern conditions: Problems and ways of their solution (p. 146). Kyiv. [In Ukrainian].
Skop-Druzyuk, H. (1999). The Evolution of the Western Ukrainian Iconostasis. Sacred Art of Boykivshchyna. Fourth Readings (pp. 37–57). Lviv: Logos. [In Ukrainian].
Skop-Druzyuk, H. (2000). Iconographic features of the “Resurrection of Lazarus” scene from the “Passion of Christ” icon of the second half of the 16th century by Fedusk the painter from the Church of the Exaltation in Drohobych. Drohobych Temples of the Exaltation and St. George in Research: Second Readings, 39–68. [In Ukrainian]
Skop-Druzyuk, H., & Skop, L. (1996). Byzantine Reliquary of the 11th Century of Arontius the Martyr. Education and Culture of the 11th Century. Activities of Yaroslav the Wise and Modernity, 38–39. [In Ukrainian].
Skop-Druzyuk, H., & Skop, L. (1996). On the Problem of Petro Mohyla’s Foundation of the 1644 Murals in the Church of the Savior at Berestove. Petro Mohyla and Modernity, 42–43. [In Ukrainian].
Skop, H. (2006–2007). Genesis and role of the Lviv Museum of History of Religion in the collection and conservation of sacred art. Zamojsko-Wolynskie Zeszyty Muzealne, 4, 75–86, 318–344. [In Polish].
Skop, H. (2006). Iconographic features and restoration of the icon “The Nativity of Jesus Christ” (16th century) from the iconostasis of the Church of Archangel Michael, Stara Skvariava. Bulletin. National Research and Restoration Center of Ukraine, Lviv Branch, 2(8), 96–103. [In Ukrainian]
Skop, H. (2006). The composition “The Adoration of the Magi to the Christ Child.” History of Religion in Ukraine: Annual Academic Journal. Logos, 2, 671–682. [In Ukrainian].
Skop, H. (2008). Iconographic Features and Restoration of the Icon Descent of the Holy Spirit on the Apostles. History of Religion in Ukraine, 2, 582–597. [In Ukrainian].
Skop, L. (1997). New data on the artistic life of Drohobych icon painters of the 16th–18th centuries. Sacred Art of Boykivshchyna. Scientific Readings in Memory of Mykhailo Dragan, 83–85. Drohobych: Vidrodzhennia. [In Ukrainian]
Skop, L. (1997). The altar from Voshchatyn: Painter-hieromonk Yov Kondzelevych, 1696. Volyn Icon. Issues of History, Research, and Restoration, 23–26. [In Ukrainian].
Skop, L. (1997). The Church of the Holy Virgin in Drohobych. Sacred Art of Boykivshchyna. Second Readings, 79–81. Drohobych: Vidrodzhennia. [In Ukrainian].
Skop, L. (1997). The icon “The Exaltation of the Holy Cross” from the Church of the Exaltation of the Holy Cross, Drohobych, 16th century. Sacred Art of Boykivshchyna. Scientific Readings in Memory of Mykhailo Dragan, 77–83. Drohobych: Vidrodzhennia. [In Ukrainian]
Skop, L. (1997). The scene “Hail, King of the Jews” from the “Passion” icon in the Church of the Exaltation in Drohobych. Sacred Art of Boykivshchyna. Second Readings, 128–137. Drohobych: Vidrodzhennia. [In Ukrainian].
Skop, L. (1998). Restoration and research of the icons by the Drohobych iconographer Fedko (late 16th–first half of the 17th century). Restoration of Museum Artifacts in Modern Conditions. Problems and Solutions, 144–145. Kyiv. [In Ukrainian].
Skop, L. (1998). The 15th-Century Iconostasis in the Drohobych Church of the Exaltation of the Holy Cross. Drohobych Churches of the Exaltation and St. George in Research. First Readings (pp. 14–34). Drohobych Vidrodzhennia. [In Ukrainian].
Skop, L. (1999). The 1466 icon of “The Synaxis of Joachim and Anna” from the Church of Joachim and Anna, Stanylia. History of Religion in Ukraine: Materials of the 9th International Conference, May 11–13, 1999, 128–130. Lviv. [In Ukrainian]
Skop, L. (1999). The icon “Hodegetria” from Krasove village. History of Religion in Ukraine: Materials of the 9th International Conference, May 11–13, 1999, 119–122. Lviv. [In Ukrainian]
Skop, L. (1999). The Mid-17th Century Iconostasis from the Church of the Exaltation in Drohobych. Sacred Art of Boykivshchyna. Fourth Readings (pp. 23–36). Lviv: Logos. [In Ukrainian].
Skop, L. (2000). The 1636 iconostasis in the Church of the Exaltation in Drohobych. Drohobych Temples of the Holy Cross and St. George in Studies. Second Readings, 75–106. Drohobych: Vidrodzhennia. [In Ukrainian].
Skop, L. (2001). Restoration and research of the Church of the Transfiguration in the village of Tustanovychi. Sacred Art of Boykivshchyna. Fifth Readings, 150–153. Lviv, Drohobych: Logos. [In Ukrainian].
Skop, L. (2001). The icon “Christ in Glory” from the late 16th century in Lishnia. Sacred Art of Boykivshchyna. Fifth Readings in Memory of Mykhailo Dragan. Collection of Articles, 158–167. Drohobych, Lviv: Logos. [In Ukrainian].
Skop, L. (2003). Stefan Popovych Medytskyi. Descent into Hell 17th century from Pidbuzh. Ukrainian Greek-Catholic Church and Religious Art: Historical Experience and Modern Issues, 2, 144–145. [In Ukrainian]
Skop, L. (2003). The Deposition from the Cross. A fragment of the icon The Passions of Christ from Ilnyk. Ukrainian Greek-Catholic Church and Religious Art: Historical Experience and Modern Issues, 2, 146–148. [In Ukrainian]
Skop, L. (2006). Fedusko, a painter from Sambir. The 16th-century icon of Venerable Paraskevia of Tarnovo. History of Religion in Ukraine: Annual Scientific Journal, 2, 682–692. Lviv: Logos. [In Ukrainian]
Skop, L. (2006). The icon “Abraham’s Bosom” (16th century) from Drohobych. Bulletin. National Research and Restoration Center of Ukraine, Lviv Branch, 2(8), 54–57. [In Ukrainian]
Skop, L. (2008). Fedusko the Painter from Sambir. The Icon Saint Paraskev with life scenes from the Second Half of the 16th Century from Drohobych. History of Religion in Ukraine, 2, 597–605. [In Ukrainian].
Skop, L. (2013). Some features of the medieval murals in the Armenian Cathedral in Lviv. Dragan Readings VIII. Drohobych Museum, TO Kaktus, 153–157. Drohobych: Kolo. [In Ukrainian].
Skop, L. (2013). The sarcophagus of Yaroslav the Wise. Dragan Readings VIII. Drohobych Museum, Kaktus, 110–125. Drohobych: Kolo. [In Ukrainian].
Skop, M. (2017). A font based on inscriptions from icons of the Rybotychy Scholl of Icon Painting of the late 17th – early 18th centuries [Diploma thesis, Lviv National Academy of Arts]. 30 pages [in Ukrainian]
Skop, M. (2020). From sacred to “beautiful and expensive on a religious theme”. Patriarkhat, (2), 8–11. [In Ukrainian]
Skop, M. (2020). Ukrainian icons “The Holy Mandylion” of the 15th–16th centuries: Artistic features and semantics. Narodoznavchi Zoshyty, (3[153]), 622–636. [In Ukrainian].
Skop, M. (2021). The image of the holy warrior in Ukrainian sacred art. Patriarkhat, (5), 31–35. [In Ukrainian].
Skop, M. (2022). Iconography of war in the world of mass consumption. Patriarkhat, (4), 28–32. [In Ukrainian].
Skop, M. (2022). Sorrowful Mother: Iconography of the Virgin Mary in memorials to Holodomor victims. Patriarkhat, 6(493). [In Ukrainian]
Skop, M. (2022). The Vilnius icon of the Mother of God: Genesis and attribution of selected samples. Narodoznavchi Zoshyty, (5[167]), 1178–1184. [In Ukrainian]
Skop, M. (2023). Iconography of angels and martyrs in selected memorials of Lviv at the end of the 20th – early 21st century. Aktualni Pytannia Humanitarnykh Nauk, (68[2]), 93–100. [In Ukrainian].
Skop, M. (2023). Sacred plastic art in the public space of Lviv in the early 21st century: Iconography conditioned by its function within the context of memory representation. In Khrystyianska Sakralna Tradytsiia: Vira, Dukhovnist, Mystetstvo (pp. 197–204). Lviv: LPBA PCU. [In Ukrainian].
Skop, M. (2023). The Stations of the Cross in Lviv’s public space at the end of the 20th – beginning of the 21st century: Artistic features and iconography. Visnyk LNAM, (51). [In Ukrainian].
Skop, P. (1997). Artistic styles in the sculpture of the Bohorodchany Iconostasis. Volyn Icon: Issues of History, Study, Research, and Restoration, 31–34. Lutsk. [In Ukrainian]
Skop, P. (1997). Attempts to reconstruct the churches of Drohobych from the 15th–17th centuries: St. George’s and the Exaltation of the Holy Cross. Sacred Art of Boykivshchyna. Second Readings, 82–87. Drohobych: Vidrodzhennia. [In Ukrainian]
Skop, P. (1998). Stylistic Features of Decorative Plastics in the Interiors of the Churches of St. George and the Exaltation in Drohobych. Drohobych Churches of the Exaltation and St. George in Research. First Readings (pp. 87–95). Drohobych Vidrodzhennia. [In Ukrainian].
Skop, P. (1999). Reflections of Artistic Styles in the Domes of Wooden Boyko Churches of the 15th–18th Centuries. Sacred Art of Boykivshchyna. Fourth Readings (pp. 58–69). Lviv Logos. [In Ukrainian].
Skop, P. (2000). The reflection of European styles of the 15th–18th centuries in the portals of Ukrainian wooden churches: A case study of Drohobych churches of St. George and the Holy Cross. Drohobych Temples of the Holy Cross and St. George in Studies. Second Readings, 30–39. Drohobych: Vidrodzhennia. [In Ukrainian].
Skop, P. (2003). The icon “Adoration of the Chełm Mother of God” from the collection of the Lviv Museum of the History of Religion. Volyn Icon. Research and Restoration, 103–104. Lutsk. [In Ukrainian].
Skop, P. (2006). Ivan Rutkovych’s icons in the Church of Archangel Michael, Stara Skvariava. History of Religion in Ukraine: Annual Scientific Journal, 2, 692–702. Lviv: Logos. [In Ukrainian]
Skop, P. (2006). The artistic path of Ivan Rutkovych in the context of new research. Bulletin. National Research and Restoration Center of Ukraine, Lviv Branch, 2(8), 70–75. [In Ukrainian]
Skop, P. (2006). The influence of European Mannerism style on the works of Ukrainian artists of the 17th century. Bulletin. National Research and Restoration Center of Ukraine, Lviv Branch, 2(8), 22–26. [In Ukrainian]
Skop, P. (2006). Theological, donor, and author inscriptions on the iconostasis of the Church of the Exaltation of the Holy Cross from the Maniava Skete Monastery. Bulletin. National Research and Restoration Center of Ukraine, Lviv Branch, 1(7). [In Ukrainian]
Skop, P. (2008). Features of the Icon The Virgin on the Throne from the First Half of the 15th Century from the Collection of the Lviv Museum of the History of Religion. History of Religion in Ukraine, 2, 606–612. [In Ukrainian].
Skop, P. (2008). Restoration of the icon The Virgin Enthroned (first half of the 15th century) from the collection of the Lviv Museum of the History of Religion. Scientific Reports of the 6th International Scientific-Practical Conference, 2, 226–232. [In Ukrainian]
Skop, P. (2008). The works of Ivan Rutkovych in the light of new research. Bulletin of the Lviv National Academy of Arts, 21, 195–203. Lviv. [In Ukrainian]
Skop, P. (2009). The embodiment of ideas of the European style Mannerism on selected icons of the iconostasis of St. Paraskeva-Pyatnytsya Church in Lviv. National Research and Restoration Center of Ukraine. Lviv Branch. Bulletin. Informational Release, 11, 53–56. [In Ukrainian]
Skop, P. (2011). Aesthetic features of Ivan Rutkovych’s iconostasis in the Church of St. Michael the Archangel from the village of Stara Skvariava. Visnyk Lvivskoi Natsionalnoi Akademii Mystetstv, (21), 155–165. [In Ukrainian].
Skop, P. (2011). Formation of artistic traditions of the Mannerism style in sacred painting of early 17th-century Western Ukraine. Narodoznavchi Zoshyty, (1[97]), 101–107. [in Ukrainian]
Smorąg-Różycka, M. (2013). Byzantine paintings in the presbytery of the Nativity of the Blessed Virgin Mary Cathedral in Sandomierz: Unexpected and momentous discoveries. Modus: Prace z historii sztuki, XII–XIII, 53–72. [In Polish]
Svidzynska, O., & Skop, M. (2021). Wooden sacral construction of Ukrainians. In On the Ancestors’ Paths: Sanok County. A Guide (pp. 270–276). Stryi: Ukrpol. [In Ukrainian]
Sydor, O. (2019). Iconostasis. In Church Art of Ukraine, Vol. III: Decorative Art (pp. 11–25). Kharkiv: Folio. [In Ukrainian]
Sydor, V. (2018). Sacral landscape sculpture of Halychyna at the end of the 20th – early 21st centuries: Typological innovations and iconographic characteristics of the image of Christ. Ethnological Notebooks, 2, 425–435. [In Ukrainian].
Syvak, V. (2011). Eucharistic iconography in Ukrainian sacred painting of the 17th–18th centuries. Narodoznavchi Zoshyty, (1), 87–100. [In Ukrainian]
Tatay-Balta, C., & Tatay, A. E. (2015). Byzantine tradition woodcuts by Grigorie Ieromonah from the Triodion printed in Bucharest in 1768. Terra Sebus. Acta Musei Sabesiensis, (7), 587–607. [In Romanian].
Tkachuk, V. (2021). The art of repetition: Printed sources of Ukrainian icons of the 18th–19th centuries from the Ponomarchuk collection. Antiquary, 1–2 (121), 40–55. [In Ukrainian].
Tomalska, J. (2016). The Suprasl iconostasis: The problem of attribution. Studia o Kulturze Cerkiewnej w Dawnej Rzeczypospolitej, 43–60. Kraków. [In Polish]
Triska, O. (2016). Historiography of research on Ukrainian domestic icons. Narodoznavchi Zoshyty, (5), 1062–1072. [In Ukrainian].
Tsymbalista, M. (2013). On the iconography of St. Paraskeva with a scroll in Western Ukrainian art of the 17th century. Christian Sacral Tradition: History and Present, 1, 49–53. [In Ukrainian].
Volokhata, O. (2019). Icons of the Kyiv painting school of the mid-18th – late 19th century in the collection of the National Museum of the History of Ukraine. Naukovyi visnyk Natsionalnoho muzeiu istorii Ukrainy, (5), 55–65. [In Ukrainian]
Winnicka, K. (2022). Icons of the Mandylion in the collection of the Historical Museum in Sanok. Perspektywy Kultury, (38[3]), 335–350. [In Polish].
Yukhymets, H. (2020). The image of St. Barbara the Great Martyr in Ukrainian graphics of the 17th–18th centuries. Rukopysna ta Knyzhkova Spadshchyna Ukrainy, (25), 124–147. [In Ukrainian].
Zatyliuk, Y. (2017). The icon of the Kyiv-Brotherhood Virgin Mary from the collection of the National Museum of the History of Ukraine of the 18th century: Origin, attribution, and history. Naukovyi Visnyk Natsionalnoho Muzeyu Istorii Ukrainy, (2), 79–96. Kyiv: Levada. [In Ukrainian]
Zhyshkovych, V. (2008). Stone sculptures of the Halychyna-Volyn State. In The Era of King Danylo in Science, Art, and Literature (pp. 340–361). Lviv. [In Ukrainian].
Zhyshkovych, V. (2019). Some remarks on the creative portrait of painter Fedir, a prominent representative of the Lviv icon-painting school of the late 16th – early 17th century. Narodoznavchi Zoshyty, (6[150]), 1447–1463. [In Ukrainian].
Zhyshkovych, V. (2020). Religious themes in the works of Volodymyr Borovyk, a prominent representative of the Ukrainian painting school of the late 18th – early 19th centuries. Narodoznavchi Zoshyty, (4[154]), 819–840. [In Ukrainian].