Fine art of Ancient Rus' MHC. Developed by Manaeva V.G.

Fashion & Style 07.03.2024

Fashion & Style

Description of the presentation by individual slides:

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The glory of ancient Russian art lies not only in architecture, but also in inextricably linked mosaics, icon painting, fresco painting, stone carving and wooden sculpture.

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Mosaics and frescoes of the Kyiv Sophia Mosaics and frescoes of the Kyiv Sophia are a unique ensemble of works of monumental art of the 11th century. The authors of the paintings were not only local, but also Byzantine masters, which is why most of the frescoes correspond to the Byzantine canon.

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The main themes of the mosaics and frescoes are the glorification of the heavenly and earthly churches, divinity, and princely power. The stern and strict faces convey an intense spiritual life, a deep conviction in the truth of the Christian faith, and a readiness to self-sacrifice in its name. Savior Pantocrator John Chrysostom

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Our Lady of Oranta (Praying) (XI century. Hagia Sophia. Kyiv) Is one of the masterpieces of mosaic paintings. The Mother of God is depicted with her hands raised high, addressed in prayer to the Almighty Christ. Surrounded by the shimmer of golden smalt cubes, dressed in festive blue and gold clothes, she rises above the altar and makes an indelible impression on those present. Her calm and solemn face and patronizing gesture of her hands are perceived as the personification of intercession and protection.

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Of no less interest are fresco paintings of a secular nature, reflecting the real world of man. In the western part of the St. Sophia Cathedral in Kiev, two group portraits of the family of Yaroslav the Wise, famous for victories over the Pechenegs, the construction of new powerful fortifications around Kyiv, and the founder of the first library in Rus', have been preserved

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One fresco depicts the Grand Duke himself with his sons carrying a model of St. Sophia Cathedral in their hands. Another fresco depicts portraits of Yaroslav’s daughters, humbly walking in a row with candles in their hands. Depicted in full length in festive clothes, they carefully look at the world with wide open eyes. Their spiritual faces are individualized. The idea of female beauty is conveyed in a calm and restrained appearance.

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Novgorod painting. Simultaneously with architectural structures, the Novgorod school of painting was formed, represented mainly by icons. Compared to Byzantine icons, Novgorod icons have a lot of expression, emotional expressiveness, and spontaneity in expressing feelings. Early icons – “Angel of Golden Hair”, “Savior Not Made by Hands”, “Ustyug Annunciation”

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Icon “Angel of Golden Hair” Kindness and meekness are visible in the thoughtful and sad expression on the angel’s face. The bright red cloak, the corner of which is visible from below, the blush of the cheeks, and the blond wavy hair with golden threads give the icon a special charm. The Novgorod master preferred bright and rich tones to the muted ocher and olive tones of Byzantine icons.

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The work of Theophanes the Greek (c. 1340 - after 1405) In the work of the Byzantine artist who arrived in Novgorod in the 70s of the 14th century. An uncontrollable impulse of passion is conveyed. His energetic, fast-paced style of writing cannot be confused with any other. The fresco paintings of Theophanes the Greek contain both magnificent mastery of color and severe asceticism. In his style of painting, chiaroscuro plays a decisive role, with the help of which he achieves three-dimensionality of the image. But the main thing that distinguishes the artistic style of Theophanes the Greek is a heartfelt understanding of the human soul, his high inner impulses and aspirations.

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Fresco “Elder Macarius of Egypt” (1378) In the face of the hundred-year-old old man one can feel tragedy, hidden prayer, sorrow and hope. Gray hair, watery, almost blind eyes, a face covered with wrinkles, a desperate gesture of raised hands, detached from the bustle of the world, a powerful turn of the shoulders - everything is designed to convey the former power and firmness of the old man’s spirit. He was once a famous theologian, the author of numerous theological “Conversations”, and now, having secluded himself from the outside world, he still does not find peace of mind.

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Fine art of the Vladimir-Suzdal principality Few of the works of fine art of Vladimir-Suzdal Rus' have preserved time. A small part of the frescoes in the Dmitrievsky Cathedral in Vladimir and several icons of the late XII - XIII centuries. remind us of the heyday of a strong and original school of ancient Russian painting.

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Icon “Dmitry of Thessalonica” (Late XII - XIII centuries. State Tretyakov Gallery. Moscow) The monumental icon embodies the image of a stern Christian saint and martyr. Dressed in rich clothes, decorated with gold and precious stones, he sits on a magnificent throne. An angel crowns his head with a princely crown, thereby emphasizing his divine origin. In his right hand, Dmitry Solunsky holds a heavy sword - a symbol of unshakable princely power. The smooth rhythm of his powerful shoulders, the folds of his clothes, the decorative coloring - everything testifies to the high skill of the artist - icon painter.

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The work of Andrei Rublev (c. 1360/1370 - 1430) The work of Andrei Rublev brought fame and glory to the Moscow school of painting. Little is known about the fate of this greatest Russian artist. His origin is unknown, the reasons for his transition from one monastery to another, his relationship with the people around him are unknown. His work did not reflect the dark, cruel time when Rus' was under the Mongol-Tatar yoke. On the contrary, calm silence, fascination with life, and responsiveness of soul reign in him.

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Icon “Savior in Power” (1408 State Tretyakov Gallery. Moscow) The icon depicts Jesus Christ seated on the throne with the text of the Gospel open. The artist fully managed to convey the depth and sublime nobility of the image. The majestic appearance of the Savior, combined with spiritual responsiveness, allows us to see in it a national ideal, which expresses ideas about the justice and holiness of the faith. The pure, soft-sounding tones of the icon, its solemn and clear rhythm testify to the artist’s high skill.

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“Zvenigorod Spas” (Early 15th century. State Tretyakov Gallery. Moscow) This is one of Rublev’s most expressive and heartfelt works. It conveys an expression of soft tenderness and spiritual kindness. An open and gentle gaze, directed into the unknown distance, is full of such humanity and participation in the destinies of people that ancient Russian painting has never known. The color of the icon is exquisite, using transparent pink ocher, emphasizing the softness and smoothness of calm lines.

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“Trinity” (1425 – 1427) The famous “Trinity” is the pinnacle of Andrei Rublev’s artistic creativity. She expresses the ideals of Good and Justice, Love and Harmony.

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Works of Dionysius (c. 1440 - 1503) Dionysius became a worthy successor to Theophanes the Greek and Andrei Rublev. He created a world of high spirituality, the triumph of goodness and ideals. Dionysius was patronized by Tsar Ivan III. The works of Dionysius are distinguished by the refined proportions of elongated figures. Having lost their volume, becoming incorporeal, they seem to float in space. Dionysius prefers delicate, light shades: blue, turquoise, crimson, pink, lilac, greenish... Researchers count about forty tones in the works of Dionysius, and note 146 shades of ocher. Dionysius's paintings are festive and joyful.

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Already a famous artist, Dionysius was invited to the Vologda lands, where, together with his sons, he painted the Cathedral of the Nativity of Our Lady of the Ferapontov Monastery.

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Among the frescoes of the Ferapontov Monastery, the huge composition “Rejoices in You”, imbued with the joyful glorification of the Mother of God, stands out. The fresco depicts many figures, heavenly powers and people standing before Mary. They all sing the glory of Mary seated on the throne with the child in her arms.

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Old Russian musical culture has its origins in the pagan traditions of the Slavs. Folk songs, invocations of spring, laments accompanying funerals or weddings, songs during the harvest or during military campaigns have always been an integral part of the life of our ancestors.

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The nature of the musical culture of Ancient Rus' was significantly influenced by the adoption of Christianity. The musical canon and system of genres were borrowed from Byzantium. From now on, music develops under the auspices of the church and is seen as an integral part of worship. Choral church chants (kontakia, stichera, canons) were dedicated to the main church holidays and the lives of especially revered saints.

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The basic principles of church singing - “coherence and integrity” - were formulated in the teachings of Theodosius of Pechersk and assumed their consistent and harmonious execution.

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The basis of the ancient Russian singing art is the Znamenny chant, i.e. a spoken word. It received this name from the Slavic word “banner”, i.e. “sign” with which chants were recorded. Znamenny singing is also called hook singing, because the image of hooks was the most important musical sign.

Introduction The history of ancient Russian art goes back almost a millennium. It originated in the 9th-10th centuries, when the first feudal state of the Eastern Slavs arose - Kievan Rus. Forming and developing in close interaction with many cultures of nearby and sometimes very distant countries, ancient Russian art, representing a holistic and brightly original phenomenon, took its special place in the history of world art. In terms of its significance, it ranks with Byzantium and the largest centers of medieval culture in Western Europe and the East.

The adoption of Christianity had a progressive significance in art. It contributed to a more organic and deep assimilation of all the best that Byzantium, which was advanced for that time, possessed. However, Christianity, having had a strong impact on Russian culture, especially in the field of literature, architecture, art, literacy development, school affairs, libraries - in those areas that were closely connected with the life of the church and religion, was never able to overcome folk origins Russian culture.

Paganism in art Among the many factors that determined the unique features of the emerging early Slavic cultural community, two main ones should be highlighted. The first of them is the predominance of animistic beliefs in numerous impersonal good and evil spirits that surround a person everywhere, capable of appearing in different images (“werewolves”), and “lower order” cults associated with the patron gods of the clan and tribe, contributing to its well-being, protecting his land and livestock, giving them fertility.

The second factor is the breadth and intensity of cultural contacts, which explain the variety of motifs and forms that are observed in the most advanced monuments of the craft of the Slavic masters themselves, which date back to the 6th-10th centuries. It is also associated with the phenomenon of syncretism, that is, the combination in religious rites and decoration of ritual objects of elements characteristic of different religions. Syncretism could be called one of the most noticeable properties of Slavic culture throughout the pre-Christian period of its history.

The main body of finds consists of items made of ferrous and non-ferrous metals and ceramic vessels. Elements of artistry, accuracy in conveying an abstract three-dimensional form, a measure of overcoming the roughness and inertness of natural material, careful surface treatment, the nature and abundance of ornamentation are noticeably enhanced in objects that, as one might assume, had a ritual purpose. Thus, the subtle patterns that covered the walls of clay vessels may represent symbols of fertility, the sun, water and fire. The main body of finds consists of items made of ferrous and non-ferrous metals and ceramic vessels. Elements of artistry, accuracy in conveying an abstract three-dimensional form, a measure of overcoming the roughness and inertness of natural material, careful surface treatment, the nature and abundance of ornamentation are noticeably enhanced in objects that, as one might assume, had a ritual purpose. Thus, the subtle patterns that covered the walls of clay vessels may represent symbols of fertility, the sun, water and fire.

Judging by the nature of the decorations found by archaeologists over vast territories, the art of the Eastern Slavs 15 inhabited by Slavic tribes, in the art of the 8th-10th centuries, the process of isolating from the mass of artistic crafts works of the highest quality, associated with the life of the tribal nobility, makes itself felt. Judging by the nature of the decorations found by archaeologists over vast territories, the art of the Eastern Slavs 15 inhabited by Slavic tribes, in the art of the 8th-10th centuries, the process of isolating from the mass of artistic crafts works of the highest quality, associated with the life of the tribal nobility, makes itself felt.

Slavic gods are endowed with the greatest strength, power and capabilities and, accordingly, are considered the highest sacred values. The well-being of a person depends on their will; in the most critical situations, he directly turns to the gods with requests for help. Olga's grandson, Prince Vladimir, established around 980 the official national cult of Perun, Khors, Stribog, Simargl and Mokosha. Only two of them - Perun and Mokosh - can be counted among the Slavic (more precisely, Balto-Slavic and Finno-Ugric) pantheon, while others bore obvious signs of cults of Sarmatian-Iranian origin. Their statues are placed on a hill in Kyiv. Slavic gods are endowed with the greatest strength, power and capabilities and, accordingly, are considered the highest sacred values. The well-being of a person depends on their will; in the most critical situations, he directly turns to the gods with requests for help. Olga's grandson, Prince Vladimir, established around 980 the official national cult of Perun, Khors, Stribog, Simargl and Mokosha. Only two of them - Perun and Mokosh - can be counted among the Slavic (more precisely, Balto-Slavic and Finno-Ugric) pantheon, while others bore obvious signs of cults of Sarmatian-Iranian origin. Their statues are placed on a hill in Kyiv.

The active involvement of Rus' in the orbit of attraction of Byzantine artistic and spiritual culture began long before 988 - the time of its official baptism. In the art cultivated at the Kiev princely court, along with traditional ornamental and emblematic compositions under the influence of Byzantine examples, “realistic” images, in the center of which are human figures, are becoming increasingly widespread. They represent scenes of hunting, struggles of mythological heroes, and circus games. Works of this kind include a bone comb of the 10th century (State Hermitage Museum, St. Petersburg) from Belaya Vezha (Sarkela) on the Don, a Khazar city captured by Prince Svyatoslav in 965. The active involvement of Rus' in the orbit of attraction of Byzantine artistic and spiritual culture began long before 988 - the time of its official baptism. In the art cultivated at the Kiev princely court, along with traditional ornamental and emblematic compositions under the influence of Byzantine examples, “realistic” images, in the center of which are human figures, are becoming increasingly widespread. They represent scenes of hunting, struggles of mythological heroes, and circus games. Works of this kind include a bone comb of the 10th century (State Hermitage Museum, St. Petersburg) from Belaya Vezha (Sarkela) on the Don, a Khazar city captured by Prince Svyatoslav in 965.

The Art of Kievan Rus after the Adoption of Christianity Having adopted Christianity from Byzantium, Rus' naturally adopted certain foundations of culture. But these foundations were reworked and acquired their own specific, deeply national forms in Rus'. These features are very clearly manifested in architecture. Although ancient Russian architecture achieved serious success in both civil and fortress construction, its originality is especially evident in religious buildings - temples. Having adopted Christianity from Byzantium, Rus' naturally adopted certain foundations of culture. But these foundations were reworked and acquired their own specific, deeply national forms in Rus'. These features are very clearly manifested in architecture. Although ancient Russian architecture achieved serious success in both civil and fortress construction, its originality is especially evident in religious buildings - temples.

Christian churches appeared in Rus' back in the 10th century. At first they were wooden. At the end of the 10th century. In Novgorod, the church of St. was cut down. Sophia “has thirteen heights,” and she was “honestly arranged and decorated.” In 1049, the church burned down, as did many tens of thousands of wooden buildings erected by Russian architects in the 11th and subsequent centuries. Unfortunately, ancient wooden buildings have not survived to this day, but the architectural style of the people has come down to us in later wooden structures, in ancient descriptions and drawings. Christian churches appeared in Rus' back in the 10th century. At first they were wooden. At the end of the 10th century. In Novgorod, the church of St. was cut down. Sophia “has thirteen heights,” and she was “honestly arranged and decorated.” In 1049, the church burned down, as did many tens of thousands of wooden buildings erected by Russian architects in the 11th and subsequent centuries. Unfortunately, ancient wooden buildings have not survived to this day, but the architectural style of the people has come down to us in later wooden structures, in ancient descriptions and drawings.

The peculiarity of the architecture of Rus' was manifested, on the one hand, in the following of Byzantine traditions (in the beginning, the masters were predominantly Greek), on the other hand, there was immediately a departure from the Byzantine canons, a search for independent paths in architecture. Thus, already in the first stone church of Desyatinnaya there were such features not typical for Byzantium as multi-domes (up to 25 domes), pyramidality is a purely Russian heritage of wooden architecture, transferred to stone. The peculiarity of the architecture of Rus' was manifested, on the one hand, in the following of Byzantine traditions (in the beginning, the masters were predominantly Greek), on the other hand, there was immediately a departure from the Byzantine canons, a search for independent paths in architecture. Thus, already in the first stone church of Desyatinnaya there were such features not typical for Byzantium as multi-domes (up to 25 domes), pyramidality is a purely Russian heritage of wooden architecture, transferred to stone.

During the construction of the most significant monument of that time - St. Sophia Cathedral in Kyiv (11th century) - ancient Russian architecture already had its own techniques of monumental architecture. The Byzantine system of the cross-domed church, with the clarity of its main divisions and the consistency of the composition of the internal space, formed the basis of the five-nave Kyiv Cathedral of St. Sophia. However, not only the experience of building the Tithe Church was used here. The cathedral differs from all Byzantine churches in the number of domes: there are thirteen of them, that is, as many as there were in the unpreserved wooden Church of Sophia in Novgorod. During the construction of the most significant monument of that time - St. Sophia Cathedral in Kyiv (11th century) - ancient Russian architecture already had its own techniques of monumental architecture. The Byzantine system of the cross-domed church, with the clarity of its main divisions and the consistency of the composition of the internal space, formed the basis of the five-nave Kyiv Cathedral of St. Sophia. However, not only the experience of building the Tithe Church was used here. The cathedral differs from all Byzantine churches in the number of domes: there are thirteen of them, that is, as many as there were in the unpreserved wooden Church of Sophia in Novgorod.

In the fine arts of Ancient Rus', originality manifested itself with no less force. Painting as such did not exist in pre-Christian Rus'. She came along with Byzantine icons and Byzantine artists. But already in centuries. In ancient Russian icon painting, images and related subjects appeared that were characteristic only of Russia; in particular, the cult of the great martyrs Boris and Gleb became widespread.

The main types of painting in Ancient Rus' were fresco and icon. The Christian Church introduced completely different content into these types of art. The main types of painting in Ancient Rus' were fresco and icon. The Christian Church introduced completely different content into these types of art. A fresco is a painting painted on wet plaster. It was mainly used for painting the interiors of temples and churches. A fresco is a painting painted on wet plaster. It was mainly used for painting the interiors of temples and churches.

Icon - an image of the faces of Jesus Christ, the Mother of God, saints, scenes from the Holy Scriptures. The church attributed a sacred character to this image, therefore the icon performed the function of a religious cult - they worshiped it and prayed to it. Icon - an image of the faces of Jesus Christ, the Mother of God, saints, scenes from the Holy Scriptures. The church attributed a sacred character to this image, therefore the icon performed the function of a religious cult - they worshiped it and prayed to it. “Nicholas the Wonderworker” (early 13th century)

And the writing of icons - icon painting - was the main type of painting of that time. Even in Byzantium, icon painting never played such an important role as in Rus', where it became one of the main, widespread forms of fine art, a rival to monumental painting. It is icons that are the main genre of ancient Russian painting. Icon painting, unlike secular painting, was carried out according to certain canons.

The most notable icons and paintings are the St. Sophia Cathedral in Kiev (1037), the Church of the Savior Nereditsa in Novgorod (1199), the icons “Ustyug Annunciation” (late 12th century), “Savior Not Made by Hands” (late 12th century), “Head of the Archangel” ( end of the 12th century), “Nicholas the Wonderworker” (beginning of the 13th century).

Conclusion During the formation of feudal Rus' (especially after the Baptism of Rus'), the influence of Byzantium was very strong. A long period of development of Russian culture was determined by religion. For many centuries, temple building and icon painting became the leading cultural genres. Icon painting marked the beginning of Russian painting. Although at first Russian icon painters adhered to the Byzantine style, very soon their own Russian style was developed and Rus' produced a number of famous icon painters who glorified themselves and Russian icon painting throughout the world. Of course, the art of Ancient Rus' follows certain canons, which can be traced both in architectural forms and in iconography - samples were even created in painting - “draw”, “originals”, facial and explanatory (in the first it was shown how to write, in the second it was “interpreted” "), but both following the canons and contrary to them, the rich creative personality of the Russian artist was able to express himself.

Orthodoxy also laid the foundation for Russian architecture - architecture. There were no temples in pagan Rus'. The adoption of Christianity soon led to the construction of huge stone structures in the main centers of Rus', first according to Byzantine models, and then in their own Russian style. Relying on the centuries-old traditions of Eastern European art, Russian masters were able to create their own national art, enrich European culture with new forms of churches unique to Rus', unique wall paintings and iconography, which cannot be confused with Byzantine, despite the commonality of iconography and the apparent similarity of the visual language. This construction led to the development of other arts and crafts: jewelry, enamel production, etc. From the 12th century. Byzantine influence on our culture is weakening.

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Byzantine images and canons. With the adoption of Christianity, the artistic system developed by Byzantium was adopted in temple architecture. The basis of the cross-domed church is a square, divided by four supports - into three naves and ending in the east with an apse, which forms a cross on the plan. Cross-dome ceiling system.

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In the 10th century, Prince Vladimir expanded the city, including trading and planting and surrounding them with a new system of defensive structures - huge ramparts and ditches. There were more than ten wooden and stone churches on the territory of the city. In 1037, construction of the St. Sophia Cathedral began. View of ancient Kyiv. Reconstruction.

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XI century Reconstruction. St. Sophia Cathedral was built by Vladimir's son Yaroslav the Wise (1037-1050). Sophia of Kiev is a five-nave cathedral of the cross-domed system, in the east it is limited by five apses, crowned with 13 domes, under the central dome there is a twelve-window drum, which flooded the vast space with light. The stepped pyramidal appearance of the temple distinguishes the cathedral from similar Byzantine churches. Cathedral of St. Sophia. XI century

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One of the oldest stone structures in Kyiv was the Church of the Tithes, erected in 986 -996. in honor of the Blessed Virgin Mary. A tenth of the prince’s income was spent on the construction of the temple (hence the name). The church collapsed during the siege of Batu. Church of the Assumption of the Virgin Mary (Tithe Church). 986 – 989 Kyiv.

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dome drum zakomara apse portal arched window Single-domed four-pillar temple of the cross-domed system

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An apse is a semicircular or faceted protrusion of a building, covered with a semi-dome or closed vault. apse

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Zakomara is a semicircular or keel-shaped completion of part of the outer wall of a building in Russian architecture, repeating the outlines of the vault located behind it. zakomara

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Arch (arched window) is a curved covering of an opening in a wall or the space between two supports (pillars, columns, pylons). arch

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Church of the Savior on Nereditsa. Novgorod 1189 – 1199 XI – XII centuries in Rus' - a period of feudal fragmentation. At this time, new principalities were formed with their own art schools. Two centers stand out: Novgorod and Vladimiro - the Suzdal principality. The Novgorod Church of the Savior Nereditsa is distinguished by its earthly simplicity in appearance and seems to be a living form of nature itself.

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The Church of the Intercession on the Nerl near Vladimir (1165) is the most perfect creation of Vladimir architects. In its composition, the plasticity of the walls expressively emphasizes the structural system, not only by highlighting pilasters and zakomaras, but also by a very rational use of decor.

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The temple is called a poem etched in stone. A poem of Russian nature, quiet sadness and contemplation. The lightness of the elongated shapes creates the impression of weightlessness. The temple is dedicated to the Intercession of the Virgin Mary. October 1 – celebration of the Intercession. For the Slavs, this is a day of thanksgiving to the land for the harvest. Church of the Intercession on the Nerl in Bogolyubovo. XII century

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“As measure and beauty indicate...” This formula guided the architects when erecting the Church of the Intercession on the Nerl. It turned out that its dimensions are approximately 2:3:5:8, i.e. they coincide with the Fibonacci numbers, and the height of the temple and its length make up the golden proportion. The walls of the temple are decorated with traditional white stone carvings, the subject groups form a whole system, decorative and philosophical. Arcature belt

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The same composition is repeated on all three facades: King David sitting on the throne. On both sides of it, two doves are symmetrically located, and below them are figures of lions. Even lower are three women's masks with their hair braided. The same masks are placed on the side parts of the facade - the temple seems to be surrounded by them. These masks symbolize the Mother of God and are present on all Vladimir churches of that era. At the end of 1992, the well-known monument was inscribed on the UNESCO World Heritage List.

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The temple was built from hewn white stone by Prince Andrei Bogolyubsky in 1165, 1 km from Bogolyubov, in floodplain meadows, on a filled and fortified hill. It is a monument to the victory over the Volga Bulgarians. There is a legend that Prince Andrei Bogolyubsky built the Church of the Intercession on the Nerl after the death of his beloved son Izyaslav - in memory of him.

Art

Compiled by Ladova L.A., 2015

Baptism of Rus'

Ancient Slavic culture + Byzantine culture

ANCIENT RUSSIAN CULTURE

BAPTISM OF Rus'

Temple construction writing

painting of temples

ARCHITECTURE PAINTING LITERATURE

The main part of the territory of North-Eastern Rus', lying between the Oka and Volga rivers, was part of Vladimir-Suzdal Principality.

In 1158-1164. at Prince Yuri Dolgoruky The construction of fortress walls around Vladimir begins, the stone passage towers especially stood out - Silver and Golden Gates. At the same time the cathedral was founded Assumption Our Lady. It was a large one-domed temple. The architects used white stone blocks and tuff as building materials. Stone carving- a distinctive feature of Vladimir churches. The interior of the temple had many precious icons in gold frames, and the walls were decorated with fresco paintings.

Old Russian architecture, despite its great monumentality, is characterized by extreme plasticity of forms, a sense of their calm and inviolability, commensurate with the size of a person, his scale and needs.

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A characteristic feature common to all the architecture of that time was an organic combination of architectural structures with the natural landscape.

St. Sophia's Cathedral in Kyiv (Sofia of Kiev)

Architecture is the soul of the people, embodied in stone

Golden Gate in Kyiv

Magdeburg Gate in Novgorod

Church of Boris and Gleb in Kideksha 1152

In the Vladimir-Suzdal Principality, starting with the rather modest decorative buildings of Yuri Dolgoruky, such as the Church of Boris and Gleb in Kideksha, an original, bright architecture took shape, distinguished by its special elegance of proportions and elegance of external decor, in particular, virtuoso carvings on white stone.

Assumption Cathedral in Vladimir 1185-1189

Stone construction was especially active in Vladimir.

The construction team, in addition to local craftsmen, included Western Europeans sent by Emperor Frederick Barbarossa.

The largest object was Assumption Cathedral city of Vladimir (1158-1160, rebuilt in 1185-1189), which differed from both Kyiv and early monuments of North-Eastern Rus'.

This is a white stone temple of slender proportions and large dimensions, decorated with luxurious carved perspective portals, an arcature-columnar belt, and complexly profiled pilasters.

The Assumption Cathedral witnessed the rapid flourishing of Vladimir-Suzdal Rus' and its cruel destruction by hordes of Tatar-Mongol invaders.

It was in the Assumption Cathedral that the first Vladimir chronicles, at the altar of the Assumption Cathedral, commanders were erected to reign Alexander Nevskiy , Dmitry Donskoy and other Vladimir and Moscow princes.

In the first quarter of the 14th century, the Assumption Cathedral was the main temple of Rus' .

Inside there are frescoes of 12th century masters and 15th century icon painters. Andrey Rublev And Daniil Cherny.

Church of the Intercession on the Nerl 1165

The church is associated with the military campaigns of the Vladimir princes Intercession on the Nerl, founded a kilometer from Bogolyubov (country princely residence) at the confluence of the Nerl into the Klyazma in memory of Andrei Bogolyubsky’s son Izyaslav, who died of wounds.

After Mongol-Tatar devastation Russian architecture was experiencing a time of decline and stagnation. Monumental construction stopped for half a century, the cadre of builders was essentially destroyed, and technical continuity was undermined. Therefore, at the end of the 13th century, in many ways it was necessary to start over.

Construction is now concentrated in two main areas: in the northwest ( Novgorod and Pskov) and in the ancient Vladimir land ( Moscow and Tver).

The plinth has been replaced by a cheap one flagstone, which, in combination with boulders and bricks, formed the uniquely plastic silhouettes of Novgorod buildings.

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CANON - the rule for the depiction and placement of holy images in the interior of the temple.

FRESCO - painting walls with water paints on wet plaster.

MOSAIC - an image or ornament made of individual, tightly fitted multi-colored pieces of glass, colored stones, metals, enamel, etc.

Christ Pantocrator (Cathedral of St. Sophia of Kyiv

Our Lady of Oranta (Cathedral of St. Sophia of Kyiv

Annunciation "Ustyug". XII century.

Apostles Peter and Paul. Icon of the mid-11th century. Novgorod Museum.

Bogolyubskaya icon of the Mother of God. XII century. Princess Monastery in Vladimir.

Savior Not Made by Hands. Around 1191.

Our Lady of Oranta. MosaicImage of the Mother of God in Rus'
always attached much
greater value than
Virgin Mary in Catholic
churches. Each image
Mother of God's
meaning. Church
legends keep stories
creation, appearance on
Russian icons with image
like the Blessed Virgin Mary
highly respected.

Our Lady. Oranta

"Indestructible Wall!
Mother of all things,
great Bereginya,
Human intercessor,
Oranta." Such
endowed with epithets
Russian people image
Maria.

Our Lady of Vladimir

Embrace of Our Lady and
Divine Child
reveal the fullness
Divine love,
the highest manifestation
which is the victim,
brought by Christ for
saving people. It's about
reminds this victim
image of the throne with
instruments of passions
back of the icon,
completed at the beginning of the 15th century
century.

Our Lady of Vladimir. Reverse side of the icon. The Throne and the Instruments of the Passions

Icon "Our Lady"
Vladimirskaya" belongs to
number of the most ancient and
famous Russian shrines
Churches. History of Vladimirskaya
miraculous icon of the closest
connected in a way with history
Russian state, precisely from
legend connects her
rise of the Northeast,
and then Muscovite Rus'. How
the ancients testify
chronicles and literary
legends through this icon
Our Lady often provided
wonderful help and
patronage of Vladimir,
Moscow and the entire Russian land.

Novgorod painting.

Angel Golden Hair. Icon

This is poetic
spiritualized
unknown image
the icon painter revealed
your idea
about beauty.

Pantocrator. Fresco from the Church of the Savior on Ilyin

By monumentality and
to the mighty picturesque
fresco temperament
Feofan the Greek
occupy a special place
in world art
XIV century. According to
canon, in the dome of the temple
Christ Pantocrator is depicted. Severe and
God is terrible.

Elder Macarius of Egypt. Fresco

Grandiose image of Macarius
Egyptian is memorable
forever. Striking
contrast of the dark face,
dark palms,
addressed in prayer to
God, and white hair and
long, snow-white
stream of falling beard.
Instead of a human body there is a luminous white pillar,
miraculously
transformed
human nature.

Miracle of George about the serpent. Icon.

Special love
Novgorodians enjoyed
Saint George, the brave
horseman warrior striking
spear monster-dragon. IN
people's consciousness
time Yegor the Brave,
as people called him,
was the embodiment of light
beginning, striking
a force hostile to man,
often seen in it
fearless warrior,
Defender of the Motherland.

Battle of Novgorodians and Suzdalians Second half of the 15th century. .

Icon "Battle of Novgorodians with
Suzdal residents (Miracle from the icon
"Sign"" comes from
Assumption Church of the village
Kuritskoye on Lake Ilmen.
At the heart of this
original
iconographic type
lies the legend about the icon
"Our Lady of the Sign"
miraculously
who provided assistance
Novgorod during its siege
Suzdal troops in
1170.

Fine arts of the Vladimir-Suzdal principality

Dmitry Solunsky. Icon

In Russian history
Orthodox Church military
the topic has always occupied
important place, it showed
in special veneration of those saints
martyrs who are by birth
their occupations were warriors
In the images of martyrs-warriors
reflected the ideal
idea of courage
selfless courage, faith and
loyalty to one's Fatherland,
after all, it was the Fatherland
Orthodox, but a feat of arms
in Orthodox countries
was seen as
highest form of service
Christian.

Church of the Intercession of the Virgin Mary on the Nerl River. Wall fragment

Works of Rublev and Dionisy.

Fresco of the Ferapontov Monastery. Our Lady with Kneeling Angels

Hymn to the Mother of God, intercessor of the Russian land
frescoes performed by Dionysius in the church sound
Nativity of the Virgin Mary of the Ferapontov Monastery. .

Fresco of the Ferapontov Monastery. Our Lady with Angels

Fresco of the Ferapontov Monastery. St Nicholas

Dionysius significantly
changes the image of a person:
the figures are greatly lengthened,
head, arms and legs
are markedly reduced. IN
this was reflected
aristocratic tastes
royal Moscow.
Harmony, absolute
inner balance,
festive admiration
characteristic of creativity
Dionysius.

Crucifixion. Dionysius

Icon "Crucifixion"
comes from
holiday series
iconostasis
Trinity Cathedral
Pavlo-Obnorsky
monastery near
Vologda.

Frescoes in the Assumption Cathedral of Vladimir Rublev Andrey

In 1408, Andrei Rublev and Daniil Cherny decorated
frescoes and icons, the most revered temple of Moscow Rus'
- Assumption Cathedral in Vladimir. Among the surviving fragments
The best preserved image of the "Last Judgment"
which occupied the western part of the three naves of the cathedral.