Embroidery and fine embroidery of Chernihiv in the second half of the 17th – early 18th centuries]

The purpose of the article is to highlight the peculiarities of silk embroidery and pictorial fine embroidery on the example of the works of the Chernihiv art center in the second half of the 17th – beginning of the 18th centuries. The research methodology is based on a systematic approach and, through specific problematic and historical methods, is fully in line with the research objectives that logically emerge according to the purpose. Scientific novelty. Analysis of the scientific literature showed that the embroidery and fine embroidery of Chernihiv in the second half of the 17th – early 18th centuries were not the subject of special study. The purpose and functions of Chernihiv products of the specified period, their distribution and materials and manufacturing techniques are considered. The individual works are analyzed, their comparison with the contemporary designs of Ukrainian graphics and painting is made. Conclusions. In the second half of the 17th – early 18th centuries Chernihiv became a prominent center of embroidery and fine embroidery. The outstanding works of Chernihiv artisans are a significant contribution to the treasury of Ukrainian art. An updated source base consisting mainly of original works of Chernihiv masters, property descriptions and spiritual testimonies of representatives of the Cossack elite became sufficient to meet the set goals and achieve the goal of the study. It was established that in the times of Kyivan Rus, embroidery and fine embroidery existed as an independent form of art and became widespread. It was the decorative art of that time that became the basis on which the fine art of the following centuries was formed and developed. Testimonies, property descriptions and portraits of the Cossack officers, as well as folk paintings, testify to the prevalence of needlework in the second half of the 17th – early 18th centuries. It is established that the fine embroidery vozdukh with the composition “Laying on the coffin” is close not only to the printed anti-mint in 1697, but also to other prints from the same board. That is, the prints of 1695, 1714, 1723, 1735 could also be samples