He hailed from a noble family and received a remarkable education. He served both in the royal court and the Cossack army. During Mazepa's tenure as hetman (1687–1709), Cossack autonomy was economically strengthened, its elite was formed, and culture was flourishing. In order to preserve Cossack's autonomy and rights, he opposed Tsar Peter I in 1708, who planned to abolish them. Following the defeat of the Swedish-Cossack army at Poltava, he fled to Bender in Moldavia, where he passed away.
Pernach. Flanged mace (1700 - 1800)National Museum of the History of Ukraine
Pernach
Under the Hetmanship of Ivan Mazepa (1687–1709), the hierarchical structure of power in the Hetmanate was definitively established.
Hetman's mace (1700 - 1800)National Museum of the History of Ukraine
Hetman mace
The Muscovite protectors were less inclined to meddle in the Hetman's domestic policies, particularly in regards to the appointment of colonels and centurions.
The Hetman's reign was marked by the standartization of the functions of the principal governmental institutions of the Zaporozhian Host - the General Military Court, the Chancellery, and the Treasury.
Administrative document of Hetman Ivan Mazepa
Numerous decrees of varied nature issued by the Hetman have been preserved in the repositories of Ukrainian archives and museums.
Administrative document of Hetman Ivan Mazepa (1703) by Ivan MazepaNational Museum of the History of Ukraine
Hetman's signature
One such decree is the Universal from the collection of the National Museum of the History of Ukraine. In 1703 it was granted to the badge-bearing military comrade Ivan Harkusha to confirm his ownership of two mills in Ivanpole.
As befitting a pragmatic benevolent ruler, Mazepa cared for the Church and supported education. The list of buildings, constructions, or restorations financially supported by the hetman is impressive: 12 newly constructed and up to 20 restored churches and cathedrals. Mazepa also made valuable contributions to various temples.
Risa or shaty. Metal cover removed from icon (1687 - 1709)National Museum of the History of Ukraine
A gilded mantle for the icon depicting the heavenly patrons of Ivan Stepanovich (John the Baptist with a scroll unfolded to the left and John Chrysostom with a staff to the right) and his coat of arms with the initials of his name and the abbreviation of his title.
At some point after the proclamation of the anathema to the hetman in November 1708, his coat of arms was firmly covered with an oval plate with the carved coat of arms of the Russian Empire.
In the collections of the NMHU there is the Gospel of Moscow printing in 1703. This book stands as a shining testament to the generosity of the hetman, while simultaneously revealing efforts to erase his memory from the annals of history.
On March 20th, 1719, the benefactor Havrylo Trokhymovych with his wife Uliana, presented this particular copy as a gift to the Kyiv-Podil Church of the Nativity of Christ, in penitence for their own sins and those of their forefathers.
Gospel. Page with an inscription (1703)National Museum of the History of Ukraine
Traditionally, books found in the vicinity of churches would have various inscriptions written upon their free sheets or margins, and this Gospel is no exception.
One notation refers to the restoration of the Pereiaslav Bishopric in the year 1700, during the reign of Ivan Mazepa. However, subsequently, the name of the hetman was expunged.
Ivan Mazepa evinced considerable concern and solicitude towards the Kyiv-Mohyla Academy and the Brotherhood Monastery. At his behest, Moscow's protector tsars confirmed the academy's status. The Academy received new possessions for material support. At the same time, scholarships worth 1000 gold coins were awarded annually to those Little Rus' children who were eager to study.
Model of the educational building of the Kyievo-Mohylianska akademiia (1960 - 1961) by Hanich I., Hanich O., Sheptun V., Tkachenko O.National Museum of the History of Ukraine
Layout of the educational building of the Kyiv-Mohyla Academy. 1960-1961 Authors and developers: I. Ganich, O. Ganich, V. Sheptun, O. Tkachenko.
Through the efforts of the Hetman in the 1690s, the stone building of the Epiphany Monastery was erected, and at the beginning of the 18th century, the academic class building was completed. At that time, it was a single-story building, with the upper floor and the Annunciation Church, which you can see in the model, being added later.
MusketNational Museum of the History of Ukraine
Rifle
For a considerable period, Ivan Mazepa remained a loyal subject of the Muskovite Tsar Peter I.
However, the participation of the Cossack regiments in the Northern War between Moskovia and Sweden, coupled with the constant disregard by the tsarist government for Cossack rights and freedoms compelled Ivan Mazepa to switch protectors – from the Muskovite tyrant-autocrat to the enlightened Swedish monarch, Charles XII.
PistoleNational Museum of the History of Ukraine
Pistol
After the defeat of the Swedish-Cossack forces at Poltava in 1709, the hetman fled to Bender in Moldavia, where he eventually passed away.
In the published in Paris in 1813-1814 two-volume "History of the Cossacks," propagandist of Napoleon Bonaparte, Charles Louis Lesueur, wrote with enthusiasm about the brave deed of Ivan Mazepa and bitterly noted that the Moscow boot had trampled the freedom of the Cossack nation and stolen its past. Moreover, he expressed confidence in its restoration.
The Hetman has not only become a literary hero but also a subject of artistic works. Currently, more than a dozen different versions of portraits of Mazepa are known, and researchers continue to debate how accurately they reflect his personality.
"Hetman Ivan Mazepa" (1991/1991) by Anastasiya RakNational Center of Folk Culture "Ivan Honchar Museum"
Lecture. How Ivan Mazepa was recalled in Kyiv 18–19 century (2017)National Museum of the History of Ukraine
Research and text: Yaroslav Zatyliuk, Maksym Yaremenko
Project Сurator: Nataliia Panchenko
Technical implementation: Oleg Mitiukhin, Oksana Mitiukhina, Liudmyla Klymuk
Text editors: Valentyna Yanchuk, Oksana Kovalyova
Translation: Dmytro Mitiukhin
Selection of exhibits: Yaroslav Zatyliuk
Photographer: Oleg Mitiukhin, Dmytro Klochko