The purpose of the work: to analyze the literature and sources covering the issues ideological and artistic content of the monumental painting of the Church of the Savior at Berestove of 1643–1644. The author’s main focus is on revealing the semantics of the mural’s subjects and interpreting the iconology of the monumental ensemble, which will allow us to determine the place of the monument in the context of the national spiritual and artistic culture of the first half of the seventeenth century. It is planned to characterize the ideological program of the monumental painting of the Peter Mohyla era and to identify the main accents in the system of paintings. The research methodology is based on the application of a systematic approach, an analytical method, art history, historical-comparative, historical-genetic, historical-systemic and descriptive methods for a comprehensive consideration of the given problem and formulate well-founded conclusions. The scientific novelty is characterized by the fact that for the first time, based on a critical analysis of literature and sources, the need for a reliable semantic analysis of the monumental painting of the Church of the Savior in Berestov of 1643-1644 was identified. Based on a thorough study of the features of the church’s painting system, the leading artistic and visual themes are identified and a variant of the interpretation of the iconology of the monumental ensemble of the time of Peter Mohyla is proposed.