The article examines the peculiarities of solving the issue of the attribution of the monumental painting of the Church of the Savior at Berestove in the domestic and foreign historiography of the 19th-21st centuries.
The mural painting of the Church of the Savior at Berestove of 1643–1644, made by the efforts of Metropolitan Peter Mohyla, is the only full-preserved monumental ensemble of the post-Byzantine tradition on the territory of Ukraine. Characteristic features and contradictions of Ukrainian art of the first part of the 17th century were revealed in this ensemble. This is a polystylistic monument, which testifies to good familiarity of its creators with both the Byzantine tradition and the Western European Art. The mural painting is marked by an extremely high artistic level and have no analogues among Ukrainian monuments of that time. However, despite the constant interest of researchers in this monument for more than a century and a half, a number of scientific questions related to the monumental painting remain unsolved.
Analysis of the literature and the source base of the research showed that the presence of several hypotheses regarding the artists-performers of the temple paintings of the era of Peter Mohyla does not allow us to consider the problem of attribution as solved. This issue requires further thorough study and new non-traditional approaches.