The road to the Assumption Cathedral (Flying buttress), Kyiv-Pechersk Lavra 1978

Editor: So, here we have Yuriy Khymych's oil painting, "The Road to the Assumption Cathedral," created in 1978. There’s something almost unsettling about this perspective, looking up that long, narrow road framed by those architectural arches. It feels a bit claustrophobic, yet the golden dome at the end draws your eye. How do you interpret this work, especially considering the period in which it was made? Curator: That sense of unease is perceptive. Khymych painted this in Soviet Ukraine. Religious sites, like the Kyiv-Pechersk Lavra depicted here, carried significant historical and cultural weight but also became subtle sites of resistance and national identity under Soviet rule. What Khymych offers isn’t simply a picturesque view but a charged space. Editor: Charged how? Is it simply about showing something religious authorities would have discouraged, or is there more to it? Curator: The choice of perspective and style amplifies it. He emphasizes the architectural forms – those looming arches, the rough road – almost exaggerating them. Notice the modernist touch in the simplified shapes and strong outlines. It transforms the cathedral from a place of worship into an almost geometric, symbolic presence. The fact that the golden dome *can* be glimpsed becomes an act of defiance. Does that clarify the painting's impact? Editor: It does. It’s like Khymych is saying, "This place and its history are still here, despite everything." This golden dome is almost mocking those architectural features, highlighting the absurdity. I hadn't considered the context of the Soviet era deeply enough. Curator: Indeed, and understanding that political backdrop is vital to unpacking the deeper resonances of works such as Khymych's 'The Road to the Assumption Cathedral.'