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translated into Russian); a Polish publication of “ Folk art on glass” 1968. In the bibliography of these books there are scores of scholarly works listed on the topic, by art historians of various countries of Europe. How ever, there is not one Ukrainian publication dedicated to this subject, not one concerted work of Ukrainian scho lars. The only source from which one could learn about icons on glass were the articles of Olena Kulchyckyj “About folk painting on glass” 1957; an article by H. Ostrovskyj “Ukrainian folk painting on glass” (Pano rama Yskusty, No. 5), 1982; and two pages about paint ing on glass in the monograph of D. Hoberman “Yskyst Hutsulov” Moscow, 1980. Once again interest was sparked when in 1988, rid ing on the waves of “ perebudovy” two exhibitions were organized in Lviv in the Ukrainian Art Musuem and in the Museum of Ethnography and Folk Crafts. But that is as far as the interest went. The Art Museum did not even publish a catalogue of the exhibition. The only mention of it was in an article by V. Svencitsky “On this side of the glass” (Ukraina, No. 39, 1988). It was a one page article with nine color reproductions of paintings on glass. This is our achievement! It should be mentioned that the problem of preser vation, restoration and research of Ukrainian painting on glass was discussed in 1987 in the almanac “Yew- shan Zillia” an underground publiccation edited by Iryna and Ihor Kalynets. Its first issue carried an interview with the collector of the largest grouping of paintings on glass I. Hrechko by A. Cybko. But what can an underground publication do to popularize a subject when only a small number of issued are circulating? Those interested in the subject can find further information about Ukrainian icons on glass in Polish or Rumanian publications. However, one cannot find the term “ Ukrainian” or “ Hutsul” in any of them. The passiv ity of our art historians allow our foreign colleagues to study our icons in the context of the general develop ment of their art, even denying its originality. The disin terest and injustice which became our sad tradition, again puts us in the role of a step-child of a “ higher culture.” The lack of a serious research in the field of icono graphy on glass prior to war time and during the Soviet reign led us to the realization that we really don’t know very much about whole areas of the folk art of Haly- chyna. All out knowledge is rather limited to the second half of the XIX century. We know on which territories icons on glass were popular. However, the names of the artist, the founding centers from where this art emerged, how many centers there were and how many artists - all this remains in the guessing category which our scholars are not anxious to tackle. Also, in our many museum collections in Lviv, Ivano-Frankivsk, Kolomiya, there is no professional specialist knowledgeable in the restoration of paintings on glass. Therefore, whatever treasures in this category there are in the museums, they are not properly taken care of. In an exhibition in the Lviv Museum of Ethnography are four icons on glass, two of which are in pretty good shape, while the other two need immediate conservation work. One wonders in what state are those objects which are in storage in various museums. It is painful to think about this. The Lviv Museum of Ukrainin Art com pletely eliminated icons on glass from its exhibitions. This is perhaps the notorious fear of the “cult” still lin gering from stalinist times. Unfortunately nothing much has changed even after the exhibitions in 1988. Isn’t it a paradox, though, that in the presence of well developed museums in Lviv, Ivano- Frankivsk, Kolomyja, with large, paid staffs, the majority of icons on glass are found in private collection of I. Hrechko, Y. Lemyka, B. Soroka, Y. Motyka, J. Jurke- vych, T. Lozynsky, L. Jaremchuk, A. Cybko, and others. We also find that workers from the Ivano-Frankivsk museum come to Lviv to purchase icons on glass from private collectors. There is no initiative to do research and search. It is therefore not surprising that Polish and Ruman ian scholars claim that the Hutsul and Bukovynian icons on glass are not representative of Ukrainian art. It is obvious that there are numerous unresolved problems in collecting, in research, preservation and restoration, as well as popularizing of folk art - in this case, icons on glass. Perhaps the time has come to a practical solution to these problems. The democratization of our commun ity allows us to do so, and the spiritual rebirth of our Ukrainian nation demands it from us. To my way of thinking, the way to start would be to popularize the icon on glass by introducing it to the wide circle of scholars of folk art and art historians both in Ukraine and in diaspora. The icon on glass, painted by peasants for peasants, is an expression of folk art in which the painting emerges as an independent factor, seerving no ornamental function. Together with other folk art objects, the icon on glass reflects the soul of the village in Halychyna at that time, its view of the s p irit ual world, its way of thinking, its knowledge of the environment, as well as the magic and mysticism held over from olden times. The scholars of folk art should understand this. The Ukrainian icon on glass should assume its rightful place in the development of European art as a uniquely Ukrainian icon, as the achievement of the Ukrainian people. The first steps were already taken as discussed -the two exhibitions and the articles in the publications. This is very important, however it is not enough. We are in great need of a major scholarly publication about the Ukrainian icon on glass which would be extremely use ful in Ukraine and elsewhere. Second, in Ukraine and in diaspora the mounting of exhibitions of icons on glass, accompanied by scholarly catalogues are also very important in popularizing this national treasure. Let us preserve this art form and display it proudly, since it reflects the heritage of our nation, the wealth of our spirituality and creativity. (loosely translated from Ukrainian) Ф ото автора. Photograph by the author.
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