A Princely Portrait in Sophia of Kyiv in the Patch of History: Secular Story and Liturgical Context

A significant reevaluation of the princely family portrait in Saint Sophia of Kyiv reveals that it originally depicted Vladimir the Great and his wife, along with their children, rather than Yaroslav the Wise as previously thought. This conclusion stems from historical evidence showing that Yaroslav's children were not yet born when the cathedral was built (1011–1018). The fresco, the largest in the cathedral, portrays a liturgical procession toward the altar throne, symbolizing Vladimir’s role as the Baptizer of Rus’. The portrait includes figures of Boris, Gleb, Theophano, Premislava, Agatha, and Maria-Dobroniega, with Ostromir’s face repainted twice—first as Sviatopolk I in 1018 and then as Yaroslav in 1019. This research clarifies the fresco's historical context by integrating secular narratives with liturgical symbolism, offering new insights into the artistic and political dynamics of medieval Kyiv.

Nikitenko, N. (2026). A Princely Portrait in Sophia of Kyiv in the Patch of History: Secular Story and Liturgical Context. NaUKMA Research Papers. History and Theory of Culture, 9, 120–145. https://doi.org/10.18523/2617-8907.2026.9.120-145