School encyclopedia. Outstanding works of ancient Russian visual art. Andrei Rublev is the greatest artist of ancient Russia ancient Russian art. Art of Kiev Rus
Fine art and painting ancient Russia was formed during the addition and strengthening of feudal social and economic relations and their origins associated with the artistic culture of the East - Slavic tribes of the X - XII centuries. Long before the formation of the Kiev state, Slavs created an original artistic culture.
Christian verbation considers temples as a place for the admission of a person to the Divine. Therefore, the architecture has become a leading type of art. By forming in iconostasis, performed as the immediately foundated architectural structure, because the official purpose of the iconostasis is the wall - the obstacle separating the altar from the rest of the room.
Wall plane as one of the main elements of the image in that have an influence and on the artistic representation of the icon painter and the carcover on the stone.
Being a picturesque work, the icon is sharply different from such a form of a creative expression, as. In the dogmatic church representation of the icon is understood as a connecting link between believers and God.
The art of Kievan Rus reached its highest heyday at the end of the X - the first half of the XI century. In the XI century, the first of the prominent monuments of Russian visual art was created - these are mosaic and frescoes of the Sofia Cathedral.
The Sofia Cathedral was laid in 1037, and was built as the head of Kievan Rus. In the main dome on a gilded background, Christ was represented - the Almighty, strictly grappling on the ground. Below was placed on the same gilded background of Heavenly Guardians - Archangels. Under them and in the simplets between the windows of the drum dome - the apostles, the disciples of Christ. Below, on tiers, supporting dome - four evangelists who were Christ's biographers.
In the temple dome there is an image of Christ - Almighty and Archangels Mosaic and paintings were invited by Byzantine masters. All the plots were religious. The frescoes recreate the scenes of hunting, the game of the boggles, the fun of the princes. Kiev Art School is the only and determining development of ancient Russian art.
Mosaic Sofia Kiev But in the XII century, in connection with the fragmentation of Russia for individual principalities, led to the emergence of local schools of art. The largest of them were Novgorod and Vladimiro - Suzdal.
The icon of the Mother of the Mother Vladimir (fragment). Novgorod art.
The art of Novgorod in the XII - XIV centuries received a significant flourishing. It is generally known the role of Novgorod as the Middle Ages International Trade Center. A certain democraticness of the public life of Novgorod imposed an imprint on his culture.
Icon "saved non-manual." XII century, Novgorod. Currently, Icon is located in the Tretyakov Gallery Murals of the St. George Cathedral with Old Ladog, built in the 60s of the XII century, the temples of the Annunciation in arcales (built in 1189), Savior - Narendi (1199), then later - Assumptions on the Volotovaya Field (1363), Savior In Ilyina (1378) and many other churches, as well as the iconist - all this was expressed by the features of the Novgorod school.
The simpleness of the appearance of the saints, the contrast bold flavor of the Novgorod school is straightely different from the Kiev school, which uses predominantly tonal flavor.
Novgorod fresco painting reached his heyday in the second half of the XIV century. At this time, arrived from Byzantium and connected his creative fate with the Novgorod School of Faofan Greek (1350 - 1410 years of life).
Penetration of acute problems of social reality in Novgorod's religious painting has determined its importance for the subsequent development of Russian artistic culture.
Vladimiro - Suzdal School.
Only the art of Vladimiro-Suzdal Earth could speak the rival of the Novgorod Art School. His higher achievements refer to the second half of the XII - XIII centuries.
Vladimir Icon of God's Mother, brought in 1130 from Byzantium. The best monuments include the church of the Intercession to Nerli (1165), Dmitrievsky Cathedral in Vladimir and St. George Cathedral in Yuryev - Polish, built in 1230-1234. A decorative sculpture was of great importance.
Vladimiro - Suzdal Masters generously covered with sculptural decoration of outer walls of fun. One of the most popular characters was the biblical king David, the creator of the Unified Ancient Jewish state. Relief images were characterized by a plane character. Stone cutters depicted David playing at the Harp and the charming art of all existing, including animals and birds.
The reliefs of Vladimir churches also placed characters of old antique legends. It is possible to see a centaur - a semi-loss - puberty and griffin - an animal with a body of a lion and the wings of an eagle. The presence of such motifs showed how far an ancient influence was spreading in Russia, and on what richest soil ancient Russian artistic culture grown.
After the Mongolian conquest, the union of northeastern lands around Moscow began. Such a foresight of the rulers, and above all, Ivan Kalita, contributed to the preassence of Moscow to the largest political center. It was Moscow who later became the most important cultural center of Russia.
Old Russian art Old Russian art
The medieval period of the history of Russian art, which continued from the state of the state of Kiev Kiev Rus to Petrovsky reforms (9-17 centuries). It originated as a result of the merger of the traditions of the East-Slavic pagan art and the Byzantine Christian culture, whose legacy was actively worried after the baptism of Russia (988).
The history of ancient Russian art is customary to divide into two stages: the art of Kievan Rus (9 - Ser. 13th century) and the art of the time of formation of the Moscow state (14-17 centuries). In the artistic culture of Kievan Rus, in turn, distinguishes periods: the pre-Christian associated with the formation of the Power of Rurikovich (9 - Kon. 10th century); Entry into the sphere of Byzantine Christian culture - from the baptism of Russia (988) to the end of the rule of Prince Vladimir Monomakh (1125); The development of art in the principles of the feudal fragmentation period, interrupted by the invasion of Batya in 1237 (12 - beginning. 13th century).
From the pre-Christian period, the work of decorative and applied arts, testifying to the high level of development of artistic crafts (Turks Horn with silver inlays in the animal style from the black grave in Chernigov, 10 century). Being pagans, the ancient Slavs worshiped natural elements. Mythological images - the embodiment of the elements (images of the sun, horse, birds, flower, etc.) are preserved to this day in folk creativity. The Slavs arranged the Kapic (sanctuary), where idols were erected (stone or wooden irregularities) of the wreated gods: Perun, Horse, Streboga, Cammarla, Mokoshi, and others. The Kapiekhi could have an oval shape (Kiev, approx. 980) or a multi-pendant associated with Symbols of the Sun (cake, near Novgorod).
Rus's baptism strengthened Russia's connection with the countries of the Christian world, and above all with Byzantia; enriched Russian art with new images and technical techniques. Arrival on Rus of many Byzantine masters contributed to the rapid development of architecture (especially temple architecture), iconopy, Book miniatures. Wooden Christian temples were built already in 989; The first major stone church of Kiev became the court tenty church (990-996), erected by architects from Byzantium (not survived). An outstanding architectural monument of this period is the Cathedral of St. Sofia (Wisdom of God) in Kiev (laid in 1037. Knyazhu Yaroslav Wisely) is a huge five-fapted cross-dome temple with two staircase towers, gone from three sides by two-story galleries and topped with 13 domes. Dedication to the Cathedral of St. Sophia emphasized the continuity with the center of the Orthodox world - the temple of St. Sofia Konstantinople. As a building material, as in Byzantine buildings, Plinth - wide and flat buried bricks of almost square shape were used. Kiev temple was decorated mosaica and frescoes (1040s), made by Byzantine masters and their Russian disciples. The solemn and majestic mosaic image of Our Lady of Oranges (praying) in Central Apsid received the name "Unbreakable Wall". In the beginning. 12 V. To replace the strict solemnity of the picturesque decoration of Sofia Kievskaya, more sophisticated and contemplative images (mosaic and frescoes of the Mikhailovsky Dust Monastery in Kiev, approx. 1113) come. At the board of Vladimir Monomakh, the Icon of Vladimir Mother of God was brought to Russia - an outstanding monument of Byzantine icon painting, which became a model for Russian masters. During the recruitment period, the city was grew up to Christian culture. Temples of the turn of 11-12 centuries. In Kiev, Chernigov, Pereyaslavl, and other cities are becoming smaller in size, their architectural forms are more smooth, and the internal space is more firmly and foresee. The largest center of artistic life was Novgorod, where in the 12th century. Democratic government has emerged (the actual power belonged not to the prince, and the landing, boyars and merchants, the People's Eve). Novgorod artistic culture, reflecting the tastes of wide layers of citizens, was distinguished by a greater simplicity, strict laconic forms in architecture (St. Sofia Cathedral, 1045-50; Nikolsky Cathedral in Yaroslavl Kit, 1113; Georgievsky Cathedral of Yuryev Monastery, 1119), full-blood images, color contrast Gamma in monumental painting and icon painting. Literacy spread everywhere, the art of decoration of handwritten books (Ostromirovo Gospel, created for Novgorod Postener Ostromira, 1056-57) and artistic crafts were flourished.
In the beginning. 12 V. Inside the Unified Kiev tradition, prerequisites for the development of local art schools. The role of the cultural center moved from the weakened Kiev to Vladimir-Suzdal Rus. Vladimir architects were erected by white-named temples. Under Prince Andrei Bogolyubsky built the Assumption Cathedral in Vladimir (1189), the Church of the Intercession of the Virgin on Novly (1165), the magnificent stone princely choirs in Bogolyubov (1158-65). The interiors were decorated with frescoes and icons in gold salary, sewing (embroidered tissues), precious utensils. A distinctive feature of Vladimir-Suzdal architecture became a carved sculptural decor. The walls of the Dmitrievsky Cathedral in Vladimir (1194-97), the St. George Cathedral in Yuryev-Polsky (1230-34) were completely covered with rubber reliefs that created the impression of the patterned fabric, pounded on the stone arrays of the buildings. In Novgorod in the second floor. 12 V. The type of a small single-eyed cubic temple with low side apsides And the staircase in the thickness of the wall for the entrance to the choir (the church of the Savior in Nerette, 1198). Novgorod painting 12 V. Distinguished by aggravated emotionality, sometimes drama (frescoes of the St. George Church in Old Ladoga, approx. 1165; Savor of the Savior in Narrece, 1199, etc.). Almost all preserved icons 12 - the first floor. 13 V. ("Saluing the delicious with the glorification of the cross", "Angel of Zlagy Vlassee"; both - con. 12th century; "Assumption", beginning. 13th century, etc.) come from Novgorod (icons of others. Principles are lost).
In 1237-38 Almost all Russian cities were ruined by Horde Batya, the population was exterminated, the temples were burned, the values \u200b\u200bwere destroyed, the masters carried out to be alien. This fate was avoided only Novgorod and Pskov, who became the centers where the surviving creative forces were going. In con. 14th century In Novgorod, he worked one of the largest masters of the era, a leaving from Byzantium Faofan Greek. The images created by them are penetrated by tragic spirituality (freschatseric of the rescue in Ilyin Street, 1378). The creativity of Feofan Greek had an impact on the masters of Novgorod and Moscow.
At the 14th century Moscow, where the descendants of Alexander Nevsky have contacted, becomes the center of collecting Russian lands. Much of Metropolitan Peter (1308-26), having moved to Moscow from Vladimir, who was nominally even considered the capital of Russia, his residence to Moscow. Pledged by Peter and finished by Prince Ivan Kalita Assumption Cathedral in Moscow Kremlin (1475-79) was one of the first stone buildings that continued the traditions of the Vladimir-Suzdal white-named architecture (not preserved). Active construction was carried out during the rule of Metropolitan Alexia (1354-78) at the princes of Dmitry Donskoy and his son Vasily Dmitrievich (Kremlin's white walls, 1367-68; Cathedral of the Monastery, 1365). Church of the Nativity of the Virgin in the Kremlin (1393), the Assumption Cathedral "On the town" in Zvenigorod (approx. 1400) - small single-eyed cubic temples marked with the grace of proportions and noble restraint. The Cathedral of Andronikov Monastery in Moscow (the first third of the 15th century) is decided as a pyramidal volume, which is underlined by tight up the rows kokoshnikov. Higher heyday reaches 15 V. Painting in the work of Andrei Rublev. In 1405, Moscow icon painter decorated the Blagoveshchensky Cathedral of the Moscow Kremlin together with Feofan Greek. Unlike the fury-passionate and tragic art of the Byzantine Master, the work of Andrei Rublev is penetrated by quiet prayerful contemplation and gentle, light sadness. In his icons and frescoes, the world of Horny (Heavenly) and the world of Dolia (Earth) was first brought in a non-painful spiritual unity. In the icon "Trinity" (1420s), the idea of \u200b\u200bharmony and unity was performed in full force, so important in the era of the Kulikovsky battle. The painters of the Circle of Feofan Greek were created richly illustrated by liturgical handwritten books (Gospel Khitrovo; Some miniatures, perhaps, were fulfilled by Andrei ruble or close to him by the masters). The work of Andrei Rubleva had a huge impact on Moscow painting not only 15 in., But also the subsequent centuries.
In 1480, in the Board of Ivan III, there was a final exemption from the Tatar-Mongolian yoke. Moscow turned into the capital of a powerful state. The visible embodiment of the new role of Muscovy as a great European power was the magnificent ensemble of buildings of the Cathedral Square, walls and towers of the Moscow Kremlin, created at the turn of 15-16 centuries. Russian and Italian architects. In the metropolitan medium, sophisticated and enlightened art is formed DionysiusWith the icons of the Assumption Cathedral of the Moscow Kremlin and creating grandiose frescoans in the area of \u200b\u200bthe White Lake (Ferrapontov Monastery Wall Murals, 1502). He is experiencing decorated decorative and applied art. Representatives of Prince and Boyar families ordered masters embroidered pellets, carved and precious utensils who became precious contributions to monasteries and temples.
In the 16th century In Muscovy, tent churches are built (the church of the Ascension in Kolomna, 1532). An outstanding monument of the epoch was the temple of Vasily blissful on Red Square in Moscow (1555-61). For Iconopy 16 V. Saturated redistribution colorful gamma, an abundance of parts, a detailed story ("Militant Church", 1550s, dedicated to the victory of the Russian military under Kazan). The taste for grace and luxury is reflected in numerous works of decorative and applied art, in the decoration of books. In 1564, Ivan Fedorov published the first Russian printed book "Apostle".
In the 17th century The focus of artistic production in the Moscow State becomes Armourieswhere the best Russian and foreign masters worked, among which the most famous S. F. Ushakov. In the culture of 17 century The secular beginning intensified, there was an interest in the scientific knowledge of the world. This century has become a transitional era to the art of the new time. A peculiar alloy of ancient traditions and new trends differ parsuna - The first portrait images (members of the royal and boyars families), created in icon painting technique. In the 18th century, when secular trends were completely prevalent in Russian culture, the traditions and images of the Old Russian art were still retained in extensive Russian provinces.
(Source: "Art. Modern illustrated encyclopedia." Ed. Prof. Gorkina A.P.; M.: Rosman; 2007.)
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- One of the most remarkable phenomena of folk art. The works created by the Old Russian artists were rightfully received in our time world fame.
Ancient Russian painting attracts the brightness of paints, amazing expressiveness of the image, clarity of compositions. Thin taste and understanding of the color, depth, restraint and nobility in the expression of feelings, patience and love attitude to creative work were characteristic of ancient Russian artists.
Russian masters have mastered the technique of painting and receptions, which came from the depths of centuries, from Byzantium, from where, with the introduction of Christian faith, the cult of holy and ways of their image came to us.
In terms of feudalism, the old Russian artists managed to create masterpieces in the field of painting, architecture and sculptures, and other utensils, church candlesticks, icons, etc. The first heyday of the Old Russian art falls at the XI-XII century - the era of the Kiev state.
The refinement and perfection with which the earliest of the historic painting and the painting of the Sophia Cathedral in Kiev, the Cathedral of the Mikhailovsky Monastery, Icons, Jewelry Items), are talking about the existence at the time of large artists, are performed.
The initial period of our painting is very complicated, images in icons are deprived of that primitive nature, which is characteristic of novice art.
In Kiev, it creates its own icon-painted school with an artist Alimpiime at the chapter. Kiev - the capital of the Great State - attracts artists from other countries to him. Art objects are raised here. So, according to the chronicles, from Byzantium at the beginning of the XII century to Vyshgorod, near Kiev, the icon of Vladimir Mother of God was brought, written in Constantinople in the late XI - early XII century.
After the division of the Kiev state into separate principles in Russian cities, many local schools of painting are formed, receiving their clearly pronounced, deeply popular: Novgorod, Pskov, Rostov, Tverskaya, later - Moscow.
After the invasion of the Tatars, in difficult and difficult years of their long dominion, the Russian people are slowly going with the forces. In painting, the rigor and monumentality of the image are preserved. In the XIII century, the works are obtained extremely harsh content.
From the middle of the XIV century there are a large number of artists working independently in the field, sometimes in remote corners of ancient Russia (Northern Icon). This is the time when the Russian icon received its original national folk style. One of the leading schools of painting was Novgorod.
Novgorod painting is distinguished by special decorativeness and strength of color, laconicism, simplicity, extreme expressiveness of the silhouette, courageous and harsh character of the image. Colorful gamma was built mainly on bright, contrasting colors: Red Cynicar, Prazelene (green), yellow, all shades, black and white, gold.
Moscow painting has received its development in the XIV - early XV century. At this time there is a whole pleiad of outstanding masters: Andrei Rublev, Feofan Greek (Byzantica by origin), Prokhor with a city, Daniel Black and others. For the works of painting created by Feofan Greek, deep psychologism is characterized, often the dramatic image (frescoes of the Savior Church in Ilyin in Novgorod). Andrei Rublev painted cathedrals in the Moscow Kremlin and in the city of Vladimir. He managed to invest such great content and philosophical depth in them, fulfill them with such skill, which began to be considered the best artist in Russia.
Moscow painting greatly went in the footsteps of the brilliant master Andrei Rublev. He was imitated, studied on his works. Distinctive features of Moscow painting XV centuries were: softness and implacability of the image, exceptional expressiveness of silhouette, singer lines, perfection of rhythmic construction, more complex and thin than before, colorful gamma. In the second half of the XV century, Moscow, which united many principalities, becomes a powerful state. Moskovsky Tsar Ivan III refers to the "Great State Supervision of All Russia." Moscow painting receives a leading role, and other schools gradually merge with her, but in Moscow for long years, "Novgorod Icons", "Suzdal letters", "Pskov Masters" and try to acquire these works in Moscow. Russian icon in this era (end of the 15th century) is characterized by special beauty. Painting shines with thin shades of bright and gentle color. The image becomes more secular, elegant and elegant.
In painting, narration appears; Artists surround the main image in the icon of stamps, or small pictures with the image of the life of saint, or "live", in which the real turns out to be mixed with "wonders".
This is the lifetime of the famous artist of the second half of the XV - the beginning of the XVI century - Dionysius. In Moscow at this time - ambitious construction. Large, newly rebounded cathedrals are decorated with painting. Just like Andrei Rublev, Dionysius painted cathedrals in the Moscow Kremlin, but he worked together with his sons Vladimir and Feodosius.
At the end of the XVI - early XVII century, Stroganov's artists work (the merchants of Stroganov - the patrons of the time, who ordered them the icons), who sought to the utmost miniaturity and a thorough decoration of works, large colors masters that created products are subtle and exquisite by color. For the XVII century, it is characteristic, on the one hand, the unrestrained desire for realism, the study of nature, to the transfer of life, on the other hand, the requirement of preserving strict rules and Scripture on the old, still Byzantine tradition. Keeping mainly icon-painted features of the letter, Russian artists of the XVII century began to portray a huge number of details taken from life, their surrounding: these are in their paintings. Details of architecture, types of cities and temples, images of hilly mountains, valleys, rivers, lakes, flowers, all kinds of animals etc. The bodies of people began to write a volume, the face is lighter and more real. The leading artists in the XVII century were Simon Ushakov, Joseph Vladimirov, Nikita Pavloviec - the so-called "royal isograms". They strongly contributed to the introduction of realistic techniques into the visual arts.
At the end of the XVII century, the history of the Old Russian painting is actually completed. In the XVIII century it is replaced by a realistic picture.
The transition to realistic forms in Russian art was gradually committed. Old Russian painting, reborn, outrages itself. Losing its features, it is inferior to a new, realistic art.
Technique icons is peculiar. This is the so-called "wood painting". The icon paints themselves made boards for their works, cutting them mainly from the lime and pine tree. Paints they rubbed on the cheese egg yolk, adding honey to save them. Before use, the board has been kept for several years until it dried at all. The boards for large icons were connected by the knaps, freely vanished in the grooves on the turnover moving when the boards were expanded or the mud during the transition from one humidity to the other. On the boards pasted the canvas "on which the thick layer of Levkasa-Alebastra or Gypsum with glue was imposed. He smoothed to an almost mirror surface, and then the paint was imposed, first - all the dark colors, then all lighter and lighter, to white. Oil paints known in Europe in the XVI century, was not used by Russian icon painters, they began to write on the canvase not earlier than the end of the XVII century.
Ancient painting reached us under the entries deposited on it for many years of its existence. When painting dark, she was "understood", often all rewriting again. In the restoration workshops existing in Moscow and in other cities of the Soviet Union, experienced restorers remove the layers of later records and strengthen the ancient painting. Without such "disclosure", the ancient Russian icon would appear in the dark and dirty, often completely distorted. For long years, until the end of the XIX - early XX century, painting lovers did not have the concept of exceptional beauty, and sometimes the brightness of the color of the ancient icons. Only now, when a restoration case in the Soviet Union received great development, we can get a correct idea of \u200b\u200bthe exceptional artistic value of the Old Russian painting.
Introduction
The originality of the Russian historical process and reflection of it in domestic artistic culture. The origins of ancient Russian art. Pagan beliefs of the eastern Slavs, Baltic and Thro-Finnish peoples. Kiev "Pantheon" Prince Vladimir. Iconography and semantics of ancient images. Byzantine culture and Byzantine aesthetics in the system of spiritual values \u200b\u200bof the Russian people. Russian Orthodoxy and its features. Dvelverie as a specific phenomenon of the religious life of the Russian society. Modern artistic practice and the problem of the revival of religious art.
History of study of ancient Russian art.
The study of domestic medieval architecture and restoration issues. The problem of preserving the monuments of wooden architecture. The first researchers of the Old Russian art. Russian iconographic school of the 2nd half of the XIX - early twentieth centuries. Historical restorations of the XIX century. In the temples of Kiev and Vladimir. Development of the basics of scientific restoration icons.
The role of the Academy of Arts in the study of works of Old Russian art. Pedagogical and scientific activities V.A.Prohorov. The first exhibitions of the ancient Russian icons. Approval in the domestic artistic framework of the formal-stylistic method. Studying ancient Russian art after 1917. Nationalization of church property. Creation of state restoration workshops. Scientific expeditions to collect ancient works. Development of the historical and stylistic method of studying the medieval artistic heritage. The largest museum collections of Old Russian art. Monuments of architecture and painting, destroyed in the 1930s and during World War II. Strengthening interest in domestic history in the postwar period. Restorethe temples of Novgorod. The activities of archaeologists, restorers and art historians in the 1950s - 1990s. Centers of study of the ancient Russian artistic culture. Scientific methods and objectives of studying medieval Russian art at the present stage. Periodization of the art of ancient Russia and its connection with the economic and political development of Russian society.
The art of the ancient Russian state (the end of the IX-beginning of the XII centuries).
The formation of a single state with the capital in Kiev. Development of feudal relations, strengthening ties with Byzantium and Bulgaria. Introduction of a unified state religion - Christianity. The nature of the interaction of Byzantine and local pagan traditions. Distribution of writing. The beginning of the chronicle. Byzantine and Bulgarian books in Russia. Genres of translation literature. The style of monumental historicism in literature and art. The desire of the Russian Church to the legal and ideological autonomy. The first Russian saints and the importance of their canonization.
Architecture.
Construction activities of Prince Vladimir in Kiev. Civil and church buildings from stone and wood. The church and the problem of reconstruction of her appearance. Principles of constructing a crossed-dome type of temple. Symbols of the Christian Temple. Expansion and strengthening of Kiev under Yaroslav. Constructive features of defensive structures. Construction equipment Byzantine architects. Compressory and constructive solution of the Sofia Cathedral. Evolution of the image of Sofia Wisdom in Russian philosophy and iconography. These archeology on the temples in the territory of Yaroslavlov of the city. Approval of statehood ideas and strengthening the authoritative of the Grand Duke with the means of architecture in the cities subordinate to Kiev. Construction of Sofia Cathedrals in Novgorod and Polotsk. The volume and spatial features of the Transfiguration Cathedral in Chernigov.
New features in the architecture of Kiev the end of the XI-early XII centuries. Formation of feudal estates and monasteries. Kiev-Pechersk Monastery and its place in Russian history. Assumption Cathedral of the Pechersk Monastery as a sample of the Cathedral Temple. Cathedral of the Mikhailovsko Golder Monastery. Sculptural decor of Kiev temples.
The architecture of the southern reinforcement according to archeology. Distinctive features of Pereyaslav temples. Cathedral of Archangel Mikhail.
Princely construction of the 1st quarter of the XII century. in Novgorod. The typological proximity of the Novgorod and Kiev temples. Arctic Peter. The opposition to the architectural relics of the Nikolo-Dvorchensky Cathedral of the church buildings of the Sofia side. Plastic expressiveness of St. George and Christmas Cathedrals. The originality of the Novgorod architecture. Building materials Novgorod architects. The typological features of the ancient Russian cult architecture of the X - early XII centuries.
Monumental painting.
Principles of decoring the Christian temple and the Byzantine monumental art X - XI centuries. Fragments of the church painting. Mosaics and frescoes of Kiev Sofia. The layout system of images on the walls and arches of the temple. Composite features of the spitition composition of the Sofia Cathedral. Secular motifs in the picturesque decoration of the staircase towers. Monumental painting of the Assumption Cathedral of the Kiev-Pechersk Monastery according to written sources. Mosaic of the Cathedral of the Mikhailovsky Crown Monastery. Ancient painting in the church of the rescue on Berestov.
The problem of dating dome painting and painting of the Martiryan Parity of the Sophia Cathedral in Novgorod. The composition of "Jobs on the Mint" from the Nikolo-Dvorchensky Cathedral and its connection with the theme of a terrible court. The frescoes of the Cathedral of the Antoniev Monastery. Fragments of the initial painting of the St. George Cathedral. Stylistic heterogeneity of the ancient Russian monumental painting X - early XII centuries.
Iconography.
The theory of the image in Byzantine and Old Russian aesthetics. Symbols icons. The role of the canon in the art of the Orthodox East. The legend of the "non-manual image" and its place in the doctrine of icon. Konstantinople icon "Our Lady Vladimirskaya" and its importance for Russian culture. Kiev iconography on written sources. Icon "Our Lady Great Panagia" (Yaroslavl Oranta) and its proximity to mosaic images. The problem of dating image.
Handwritten book.
Miniatures "Ostromirova of the Gospel", "Holy Svyatoslav" and "Mstislavova Gospel". Communication in book miniatures with jewelry art of Kiev.
The art of Old Russian principalities (XII - 1st third of the XIII centuries)
Economic, political and cultural situation in Russian lands in the housesongol period. Crushing a single Old Russian state to independent principalities. Growing cities. Organization of new episkopy. Development of local chronicles. Creating historical stories and "words". The formation of architectural schools. Transformation of the style of monumental historicism.
Architecture.
The volume and spatial solution and nature of the masonry of the walls of the Kiev Church of the Savior on Berestov. The value for the recreation of the initial appearance of the trace of the tropal coating of the River.
The cult buildings of Chernigov. New features in the Cathedral and Monastic Construction. Switch to bare laying. Constructive and artistic features of the Borisoglebsky Cathedral and the Assumption Cathedral of the Hello Monastery. The typological relationship of Chernihiv temples with the temples of the middle of the XII century. Kiev, Vladimir Volynsky, Smolensk, Ryazan. These archeology on the architectural image of the Chernihiv Annunciation Cathedral. Reflection of its volume and spatial solution in the composition of the Reduced Vsevolod of the Vladimir Assumption Cathedral.
Addition of the Pridneprovsk architectural school. Architecture of the North-Western Russian Principles. Church of Boris and Gleb in Grodno. The Cathedral of the Savior-Eprosynev Monastery in Polotsk and the approval in the architectural design of new composite principles. Composition and design features of the Smolensk Church of Archangel Mikhail. Completion of the processing process of the canonical cross-lifting circuit in the composition of the Pyatnitsky Church in Chernigov. The originality of the space-spatial structure of Pyatnitsky temple.
Architectural monuments of southwestern Russian lands. The originality of the Galician architectural school. Communication of Galician architecture with the architecture of Poland and Hungary. Sculptural decor of Galician temples. Assumption Cathedral of Galich according to archeology. Romanesque motifs in the architectural look of the Panteleimon Church. Construction activities of Prince Daniel in a hill. An art decoration of the Khlis Church of John Zlatoust. The participation of Galician masters in the construction of the temples of the Vladimir-Suzdal Principality.
Architecture of Vladimir-Suzdal Rus. The serf and cult construction of Yuri Dolgoruky. Features, brilliant cathedrals in Kideksha and Pereslavl Zalessky with the temples of Western Russian lands. The elevation of Vladimir on Klyazma under Andrei Bogolyubsky. Inviting Andrei European Masters. The construction of the Assumption Cathedral and the suburban residence of Bogolyubovo. The initial appearance of the Church of the Pokrov to Nerli. Iconographic programs of the sculptural decor of Andreev temples. Rearrangement of the Assumption Cathedral with Vsevolod III. The manifestation of the Romanesque architectural tradition in the design of the facades of the Dmitrievsky Cathedral. Monastic architecture of the Vladimir-Suzdal Principality. Cathedrals of the Christmas and Princess of Monasteries. Features of construction equipment. Construction activities of the sons of Vsevolod. Characteristics of monuments of the Rostov-Yaroslavl and Suzdal-Nizhny Novgorod circle. The initial appearance of the Christmas Cathedral in Suzdal and the St. George Cathedral in Yuryev Polish. The problem of reconstruction of the sculptural decor on the facades of the St. George Cathedral. Questions iconography and semantics of Vladimir-Suzdal graphics. The connection of sculptural images with the pagan beliefs of the local population. Suspension of stone construction in the Zalesskoy Earth after 1237.
Architecture of the Novgorod land. Changes in the social structure of Novgorod in the 1st half of the XII century. Increasing the role of boyar and archbishop. Transformation of the Decity in the citywide Religious and Political Center. Dependence of monumental construction from social order and building material. Typological and artistic features of church structures. Boyar-merchant temples Novgorod. Familying in arcales, Peter and Paul on the cinema slide. Influence of landing architecture on princely construction. The volume-spatial structure of the church of the Savior in Neretric. The manifestation of new architectural ideas in monastic construction. Composite features of the Cathedral of the Mozoan Monastery in Pskov and the Church of the Climate in Old Ladoga. The aesthetization of simplicity and strength in the architectural image of the Ekoladozhsky St. George Cathedral. The first tower compositions in Novgorod religious architecture. Friday paraskeva church at a trade as a sample of new architectural thinking and contacts of Novgorod with the cities of Zdnepria. The reflection of the composite structure of Pyatnitsky Temple in solving the exterior of the Church of the Persian Skit. The value of a three-blade coating for the further development of Novgorod cult architecture.
Monumental painting.
Information about the art works of Greek masters in Bogolyubov. Fragments of the initial painting in the Vladimir Assumption Cathedral. Restoration of the picturesque decoration of the Assumption Cathedral with Vsevolod III. Fresco compositions of the Dmitrievsky Cathedral. A terrible court in the chief painting system. Monumental painting in the Dyaconnik of the Christmas Cathedral of Suzdal. Stylistic features of the Byzantine monumental painting of the Comninovsky period.
Wall paintings in the temples of the Novgorod Republic. The predominance of linear graphic began in the walls of the Cathedral of the Mozoan Monastery in Pskov. Communication of the Mozoan Ensemble with the Balkan Iconographic Tradition. The nature of the decoration of the central aspid. Dramatic sound of work. Principles of posting images in the interior of Church George in Old Ladoga. Iconographic innovations. Style features. Decree decoration of the church in Nearly. Composition "Ascension" and its place in the painting system. The manifestation of the "linear" style in the walls of the church of the Annunciation in arcales. The iconographic features of the picturesque compositions of the altar part of the Arkazh Temple.
Opening of restorers in the Cathedral of the Savior-Evphrosiny Monastery in Polotsk. Monumental painting Smolensk in the light of archaeological surveys. Frescoes of the Kirillov Church in Kiev.
Old Russian picturesque ensembles of the 2nd half of the XII century. In the context of the evolution of Byzantine monumental art.
Iconography.
History of study and restoration of Icon XII-XIII centuries. Dating questions from the monuments of the Domongolian period. Domestically artistic about the problem of schools and the national originality of early Russian icon painting. The role and place of Byzantine icons in the Old Russian artistic culture. Icons originating from middle-Russian lands. Icons historically connected with Novgorod and Pskov. Military theme in Greco-Russian Icon Pouring XII-XIII centuries.
The design of the southern and western gates of the Cathedral of the Nativity of the Virgin in Suzdal. Features of the Golden Tube Technology. Plots and stylistics of copper brand.
Handwritten book.
The effect of folk culture on the miniatures of the gospel of the house. Teratologic style of Novgorod manuscripts.
The art of the period of the Mongol-Tatar yoke and the beginning of the merger of the Russian land (2nd half of the XIII - 1st half of the XV centuries).
Politics of Russian princes in the conditions of the Goldenopa Iga. The transition of Western Russian lands under the authority of Lithuania and Poland. The appearance on the Rus card of new political and cultural centers. The elevation of the Tver and Moscow principalities. Growth of trade and craft plantings. Revival of book culture. Transferring the Metropolitan Department from Kiev to Vladimir, and from Vladimir to Moscow. Restoration of interrupted ties with Byzantium and Balkan countries. The victory in the Kulikov field and the leading role of Moscow in the association of Russian lands. The beginning of the formation of Great Russian nation.
Architecture.
Written sources about cult construction in Tver at the end of the XII - XV centuries. Tver architecture according to archeology. News of early Moscow temples. Moscow Kremlin at Ivan Kalita. New features in the Moscow architecture of the 1st half of the 20th century. The volume and spatial and artistic solution of the temples of Zvenigorod. Composite system of the Trinity Cathedral of the Trinity Sergius Monastery and the Spassky Cathedral of Andronikov Monastery. Decor of Moscow monuments.
Development in Novgorod elements of new urban culture. The participation of merchants and landing people in the temple construction. Church of Nikola on Lipne and its connection with the buildings of the previous period. Return to composite and constructive decisions of the 2nd half of the XII century. In the interpretation of the Church of the Savior on Kovalev. Using a three-blade coating in the church of the spirit of the bodily field. Typology of Novgorod cult architecture 2nd half of the XIV - early XV centuries. Composition, design features, decorative design of the churches of Fyodor Stratilate, Savior in Ilyina Street, Peter and Paul in Tanzheviki. Building activities of Archbishopa Evfimia. Rearrangement of a dominal yard. Eviefimyeva Chamber and its place in Novgorod architecture. Novgorod architecture during the rivalry of the republic with the Moscow principality.
The acquisition of Pskov political and economic independence. Social structure Pskov. The role of the Posted population in the formation of the appearance of the city. Constructive composite features of street temples: Vasily on a hill, goat and Demyan with an adaptation, George with a reciprocal. Rearrangement of the Trinity Cathedral. Reflection of architectural ideas of the XII century. In the composition of the Cathedral of the Snetogorsk Monastery. Plastic expressiveness of Pskov monuments. The volume and spatial decision of the Church of Assumption in Mellov. Distribution of the type of crucible temple. A variety of types of Pskov bells. Fortress construction. Fortress structures of Izbor.
Monumental painting.
Monumental paintings by the Byzantine and Balkan masters in Novgorod and its surroundings. The church of the church of Assumption on the volotta field. The nature of the decoration of the aspid of the temple. Dating questions ensemble. Stylistic paintings. The formation of emotional and expressive and picturesque trends in the art of XIV. Frescoes of the Church of the Savior on Kovalev. The history of the revival of Kovalevsky painting. The program of Kovalevskaya Stenopiism in the light of the South Slavic iconographic tradition. Color system monument. Monumental painting of churches of the Savior Transfiguration on Ilyin Street. Epiphany information of the artistic activities of Feofan Greek. The problem of reconstruction of the iconographic program and the initial intention of the painting. The relationship between the aesthetics of Feofan with ideological settings of Isychasm. The role and place of light in the work of the artist. The iconographic and stylistic features of the wallopiism of Fyodor Pratilate. Approval of a new artistic language in the church painting in the cemetery. The features of the influence of Balkan art in the wallopy of the church of the Archangel Mikhail of the Skovorodsky Monastery. A variety of styles and manners in Novgorod monumental painting 2nd half of the XIV - early XV centuries. The influence of machine painting on the frescoes in the churches of Sergius of Radonezh and Simeon God Drum.
Monumental painting Pskov. The program of the painting and the style of the frescoes of the Christmas Cathedral of the Snetogorsk Monastery. Initial flavor painting. Fragments of the picturesque decoration of the citys of Dovmontov city. Features, bringing together Pskov frescoes with Novgorod monuments. Wall painting of the Church of Assumption in Mellov. Features of decorating the altar part of the temple. Painting style and color ensemble color.
The data of the chronicles on the art works of Greek isographers in the XIII - XV centuries. In Tver and Moscow. Joint activities of Byzantine and Russian isograms in the temples of the Moscow Kremlin. Daniel's frescoes and Andrei Rublev in the Assumption Cathedral of Vladimir. The stylistic proximity of the Assumption painting to the Konstantinople art of the paleologists. Composition of a terrible court as a sample of a high ideological and humanistic content of the art of Daniel and Andrei Rublev. Information about the incredible monumental works of artists.
Iconography.
The formation and evolution of regional icon-painted schools.
Formation and development of the Novgorod school of iconography. Artistic construction and stylistics of Novgorod icon images. Novgorod redfound icons. Images of the most revered holy Novgorod land in the local iconographic tradition. Reflection in Novgorod icons of historical events and image of real characters. Anti-Moskovskaya orientation of Novgorod art and manifestation of it in easel painting. Novgorod Izon Icons "Pokrov's Lady". The iconology of the Novgorod province is "Northern Letters".
Pskov iconography in the context of new discoveries of restorers. The ratio of local traits and "Novgorodisms" in Pskov icon painting. Pskov's origin of the composition "Descent to hell". Favorite color combinations of Pskov masters. The democratic nature of Pskov culture and its reflection in local iconography.
Stylistic signs and artistic traditions of Tver Iconopy. Color palette of Tver Isographers. Expression and scale of images in Boris and Gleb icons, "Arkhangel Mikhail". Archaic painting of Tver Icons XIV - 1st half of the 20th century. The nature of the gaps and ways of modeling the icon images of the royal gates from the nectarian monastery. The oppression of the local artistic tradition of the influences of Moscow and Novgorod art during the struggle of the Tver Principality for independence. Deesus Chin from the Assembly A.I. Anisimov (GTG), "Assumption" from Minsk (Geg), "Ignatius Gangrsky with Life" (GTG) as the most characteristic monuments of the Tver School of Iconopy.
Problems of study of Rostov-Suzdal Iconopy. Distinctive features of Icons of Rostov-Yaroslavl and Suzdal-Nizhny Novgorod origin. Technique letters of Rostov icon painters. Color Story of Rostov monuments. Stylistics icons from the Pokrovsky Monastery of Suzdal. Icon "Pokrov's Lady" as a classic sample of Suzdal Iconopy. The impact of the Rostov-Suzdal Art Tradition to the formation of the visual language of the Moscow School of Iconography.
Stylistic heterogeneity of the Moscow Icons XIV. Artworks performed in Moscow by Feofan Greek and artists of his circle. Deesus and festive row of the Kremlin Annunciation Cathedral. Vasilievsky Chin and the problem of the reconstruction of the iconostasis of the Assumption Cathedral of Vladimir. Aesthetic views of Andrei Rublev. Communication of Rublev's creativity with the artistic heritage of the Domongolian period. "Vladimir Spare" as a sample of rethinking by the artist Byzantine tradition. Lyrinku-harmonizing trends in the art of Rublev and Moscow icon painters of the 1st half of the 20th century. Color solution icons "Zvenigorodsky rank". Reflection of ideas about the physical and moral ideal of a person in the image of "Savior".
Icon "Trinity" and its place in the history of Russian art. Iconographic and picturesque features of the work. Interpretation options for an artistic image. The activities of the Rublev Brigade in Trinity Vigiyevo Monastery. Rubful traditions in the works of Moscow artists of the 1st half of the 20th century. Historical importance of Rublev's creativity. Information about the artist Dioniria Glushitsky and his icons. Icon with the image of Kirill Belozersky.
Handwritten book.
Screensavers and initials "Gospel of Cats". Composition and color features Miniature "Gospel Khitrovo". The influence of the miniature "Gospel Khitrovo" on the nature of the design of Russian manuscripts XV. Miniatures "Gospel Morozova". Semantics of Novgorod teratologic ornament.
The art of the Epoch of the Education of the Russian National State (2nd Half XV - 1st third of the XVI centuries).
Completion of the union of Russian lands around Moscow. The growth of the international value of the Russian state after the fall of Constantinople. Expansion of political and cultural ties with Western Europe. Addition of the court ceremony and the Embassy rite. Creation of a "chronograph" and the removal of the events of Russian history and Russian political and religious figures.
Waiting for the end of the world and strengthening eschatological sentiment. The implementation of the first complete translation of the Bible. Distribution of heretical teachings. The denial of the heretics of monasses, monasteries and the cult of "created things" is icons. The controversy around the trinity dogma. The literary activities of Joseph Volotsky and Nile Soviet. The development of secular artistic literature.
Architecture.
The nature of religious construction in Moscow in the middle of the 20th century. Rearrangement of the Kremlin under Ivan III. The construction of the Assumption Cathedral and the activities of Aristotle Phiorewanti. Reborn motifs in the construction of alage of new, Marco Ruffo and Pietro Antonio Solari. Improving construction equipment. Constructive composite features of Moscow churches with a bachership arch. Pillars "Ivan the Great" and its role in the formation of the silhouette of the Moscow Kremlin. Work in Moscow Pskov construction artel. Posad and monastic construction in the lands subordinated to the Moscow Prince (Novgorod, Pskov, Yaroslavl). Wood architecture XV - XVI centuries. Typological and design features of the boards and tent temples. Fortress and cult construction in Vasily III. Building Italian architectural panels. Walls and towers of China-city. Communication of the architectural appearance of the Ascension Church in Kolomensky with tent compositions of wooden architecture. The nature of the organization of the inner space of the Kolomna temple.
Monumental painting.
Information about art works in Paftyevsky Borovsky and Josepho-Volokolam monasteries. Fragments of a fresco painting in the Assumption Cathedral of the Moscow Kremlin and their connection with the art of Serbia. The work of Dionysius with sons in the Christmas Cathedral of the Ferapontov Monastery. Iconographic innovations. The value of the acafiste cycle in the painting program. Principles of building "choral" multifigure compositions. The role of color in the system of the pictorial ensemble. Aesthetic installations of Dionosia and its followers. Painting Feodosia in the Moscow Blagoveshchensky Cathedral. Temple painting program. Stylistic features of the Annunciation Stenopiism. Data from written sources about monumental-pictorial works in the Moscow Assumption Cathedral. The plot-thematic composition of painting on the sources of XVII century. The development of the symbolic-liturgical genre and the meaning of the altar composition "Great Login". The place of "terrible court" in the interior of the temple.
The presence of the features of Dionisievsky style in the murals of the monastic cathedrals Mozhaisk (Christmas Cathedral of the Publishing Monastery) and Yaroslavl (Savior-Preobrazhensky Monastery Cathedral).
Iconography.
The problem of genres in the ancient Russian icon painting. The process of genre formation in the XV - early XVI centuries. Style-forming value for the era of the gymnographic genre. Composite system icons on the topics of chants: "You are happy about you", "praise the Mother of God", "is worthy." The root and princely orientation of the art Dionysius and masters of his school. Life icons Dionysius and their composite features. Color construction of Dionisievsky images. Distribution of icons with the image of Russian saints and devotees. Artistic solution of the iconostasis of the Assumption Cathedral of the Kirillo-Belozersky Monastery and the Christmas Cathedral of the Ferapontov Monastery. Development of artists of the Circle of Feodosia of the Zhiyny and Symbolic-dogmatic genres. Solemn-ceremonic nature of works. Evolution of the eschatological genre. New iconographic schemes in icons depicting a terrible court. Local schools icon paintings in the 1st half of the 20th century.
Handwritten book.
Gradual replacement in the artistic practice of parchment paper. Balkan style in the ornamenics of Russian manuscripts XV - early XVI centuries. Colorist wealth Miniature "Gospel of Tretyakov" performed by Feodosius.
The art of the Russian centralized state (2nd half of the XVI - 1st half of the 20th century).
Strengthening the Russian centralized state and turning it into a multinational state. Formation of the official ideology of Russian autocracy. The formation of theories "Moscow - the third Rome" and "Moscow - the second Jerusalem". Wedding Ivan IV to the kingdom. Patriarchate approval. Centralization and regulation of culture. Erase of local stylistic features. Creation of the communional chronicle of the church and great mines of Chieti. The desire for uniformity in the field of church life. Active canonization of Russian devotees. Rising national self-consciousness during the Polish-Swedish Intervention. Conservative nature of Russian culture of post-war decades. Restoration of the aesthetic foundations of art of the XVI century. In artistic practice of the 1st half of the 20th century.
Architecture.
The memorial nature of the cult builds of Ivan the Terrible. The development of a table-like composition in the spatial solution to the Church of the Adoption of the Head of John the Forerunner in the village of Dyakovo. The impact on the ideological and artistic interpretation of the image of the temple of the forms of serf architecture. Church of the Intercession on the Rives as a monument to the victory of Russia over Kazan Khanate. The originality of the composition of the temple, its initial appearance and changes in the subsequent century. The role of light in the ideological-shaped sound of the interior of the church.
The evolution of the forms of tole architecture at the end of the XVI - early XVII centuries. Composite and stylistic features of church structures erected by the masters of Boris Godunov. (Temples in Borisov Town, in Vyazenes, in the Don Monastery, in the village of Khoroshev). Monastic and urban cathedral construction of the 2nd half of the 20th century. The establishment of the order of stone affairs. The role of the order in expanding and streamlining stone construction. The activities of the Moscow Arch Republic of Fyodor Kony. Temples monuments dedicated to the liberation of Moscow from the Polish-Lithuanian invaders. Cult construction of the 1st half of the 20th century. In the cities of the Volga region.
Monumental painting.
Artwork in the Moscow Kremlin after the fire of 1547. The Arkhangelsk Cathedral painting program. The value "Symbol of Faith" in the painting system. Principles of the image of a grand jeep and royal pedigree. The formation of a symbolic-allegorical genre in the painting of the gold and grain chambers. Frescoes of the Assumption Cathedral of Sviyazhsk. Old Testament Plots in the painting system. The compositions "Great Entrance" and the further development of the symbolic-liturgical genre. Art features of picturesque ensembles created during the reign of Boris Godunov. The problem of dating the frescoes of the Smolensky Cathedral of the Novodevichy Monastery. The work of Moscow isograms over the wallsaws of the Preobrazhensky Trinity Cathedral in Vyazenes and the Annunciation Cathedral in Solvychodsk. Thematic composition and style of painting. The resumption of monumental painting in the Assumption and Arkhangelsk Cathedrals of the Moscow Kremlin in the middle of the 20th century. The desire of representatives of the new dynasty to preserve the plot-thematic composition of the former paintings in the temples. Grade to artistic forms and style of pre-war time in the temple painting of the 1st half of the 20th century. Suzdal, Vladimir, Yaroslavl, Kirillo-Belozersky Monastery. The walls of the Yaroslavl Church of Nikola hope as the first example of the wall painting of the XVII century., Performed at the request and to the means of a merchant family. Joint activities in the temple of Moscow, Yaroslavl and Nizhny Novgorod icon painters. Nikola's church painting program hope.
Iconography.
The appearance of new forms of didactics and iconographic schemes in the iconography. Influence of Western European engraving on the iconographic bases of an ancient Russian icon painting. Composite and iconographic innovations in the icons of Pskov masters: "Four holidays", "The Passion of the Lord" and "Updating the Church of the Resurrection." Solutions of the Optional Cathedral on Icon Pouring. The case of Deca is temple. The polemical orientation of the icons illustrating the defillas moral stories. Icon "The Church is militant as a sample of the symbolic-historical genre." Godunovskoye "and" Stroganovsky "directions in Russian iconopisis of the end of the 18th century - 1st third of the 19th centuries. Activities of the leading masters of the" Stroganovsky direction ". Artistic ways of the designs of China and Nikifora Savina Nazaria Inturomy over the iconostasis of the Kremlin Church of the Realization. The formation of the royal school of icon painting at the courtyard of Mikhail and Alexey Romanov.
Art design book.
Principles of the image of historical events in miniatures of the "big chronicle arch". Novovizantine style in the design of a handwritten book. Art of printed book and engraving. Apostle 1564 and the activities of Ivan Fedorov. Miniatures of facial lives Sergius Radonezhsky.
The art of Russian power after joining Russia of Western territories (2 half of the 20th century)
Expansion of the boundaries of the Russian state. Accession to Russia of Ukrainian and Belarusian lands. Development of connections with Western European countries. Addition of the All-Russian market. Strengthening the positions of the trading system. Reform and split church. Strengthening Polish, Ukrainian and Belarusian influences in the field of cultural life. Renaissance and baroque features in Russian literature and art. The complication of the genre systems of the Russian prose. Liberation of literature from medieval etiquette and rite connection. The emergence of the theater. The originality of the Russian baroque. Publishing activities of the Moscow Printing Court. Polemics of latat and gkerophiles. Opening in Moscow Slavic-Greco-Latin Academy. The controversial nature of the Russian culture of the era of the transition from the Middle Ages to a new time.
Architecture.
Wooden church architecture. Palace in Kolomensky. Construction work in the Moscow Kremlin. Communication of the currently planning structure of the terry palace with wooden sorry. Weakening of monumentality in stone cult buildings. The secular nature of the landing church architecture. New principles of building planning. Constructive features of Moscow temples. The architectural solution of church churches in Putkach and Trinity in Nicnics. Construction activities Patriarch Nikon. The historical and political importance of the construction of a new Jerusalem. Architectural ensemble of the Novojerusalem Resurrection Monastery. The role of the language decor in the interior of the Resurrection Cathedral. Architecture of the Rostov Metropolitan House. Merchant temples of Yaroslavl. Burning Yaroslavl architectural school. The features, bringing closer to Yaroslavl churches with cooler buildings of the XVI century.
The spatial decision of the Church of the Ilya of the Prophet. The history of the formation of the architectural ensembles of the Korovnyatsky and the Tolchkovskaya Slobod and Nikolo-Mokrinsky parish. Types of Yaroslavl bells. Civil Engineering Pskov: Order Chambers, Tablement Chambers. The implementation of new architectural ideas in the metropolitan architecture of the XVII century. "The Moscow Baroque and its stylistic features. Development of a longline composition in the works of Yazvostov. The use of Western European figurative means in the architectural decision of the church of the sign in Dubrovitsy. Creating monumental public buildings of secrets.
Monumental painting.
Western European illustrated Bibles and their importance for Russian art. Thematic cycles and iconographic features of the frescoes of the Church of the Trinity in Nicnics. Artwork in Rostov Great. The program of the painting of the Rostov Assumption Cathedral and the Metropolitan Church of the Savior on the Seine. The creative way of Kostroma Israes Guri Nikitina and Savin's forces. "Acts of the Apostles" in the System of Painting the Trinity Cathedral of the Ipatiev Monastery. Stenopress of Yaroslavl artists in Yaroslavl, Rostov, Trinity-Sergiev Monastery, Vologda, Romanovo-Borisoglebsk (Tutaev). The role of Dmitry Grigorieva-Plekhanov in the development of a "pillar" monumental style in Russian painting of the 2nd half of the 20th century. The order is the arrangement of the composition and fresco cycles on the arches and walls of the cathedral temples, painted by Yaroslavl artel. Mongument of monumentalism and strengthening the narratives in the wall painting of the 1690s. The walls of the Church of John the Forerunner in Yaroslavl as a transition monument. The nature of decorating altar premises.
Iconography.
The icon-painted workshop of the Armory and its role in the development of Russian icon painting. Work on icons for the Kremlin Councils. The composition of the new iconostasis of the Assumption Cathedral. The history of the development of a high Russian iconostasis. Fight in the art of the 2nd half of the XVII century. progressive and conservative trends. Creativity Simon Ushakov. Aesthetic views of S. Shushakov and I.Vladimirov. The icon "Tree of the Russian state" and its ideological and political meaning. Issues of iconography at the church cathedral 1666-1667. Yaroslavl School of Icon Pouring and its characteristic signs. Life icons of the seeds of Spiridonov Holmogorz. The nature of the living story in the icons of Fyodor Zubov "Ilya Prophet in the desert" and "John Forerunner is an angel of the desert." Activities in Moscow of foreign artists. Approval in the art of new genres and secular realistic motives. Formation of a parsunge genre. Icon "Sergius Radonezh" with the Life and the image of the "Tale of Mamaev's Boy" as a sample of the development of the life and formation of historical genres. Reflection of the Western European Art Tradition in the art of the Moscow icon painter Karp Zolotarev. Signs of Baroque in the art decoration of the church of the Intercession in the films.
Art design book.
The decoration of the "Titular" and portraits of statesmen of the XVI - XVII centuries. Interest topics in the face manuscript "Medication of sincere". Thumbnails "intelligent" (1678) and "Siya" Gospels.
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That the main drawings depicted the faces of the saints and biblical plots. The names of the works of the ancient Russian painting of this confirmation: "Annunciation of Ustyuga", "Our Lady Oranta", "Christmas of Christ". This direction existed for several centuries.
Picturesque era
The history of the Old Russian painting is conditionally divided into two major periods. The first continued from the middle of IX to the XIII century. It is called the art of Kievan Rus.
The second period is associated with the formation of the Moscow state. During its development (from the XIII to the XVII centuries), an incredible lot of the most valuable works of art was written. Large periods, in turn, are divided into smaller stages that are associated with certain historical events that have fallen their prints on images and plot lines. The names of the works of the Old Russian painting, which were created in the pre-Christian period, are unknown.
Pagan faith in the spirits of the elements, worship them, left us a inheritance of the horns of the tour, encrusted with thin silver, various images of the sun, birds, colors - everything that people believed. In Kiev, the heads with idols are preserved, dating from 980 year. Images of Old Russian painting were associated with Perrun, Horsa, Mankos and other pagan gods.
The role of Byzantium in the artistic development of Russia
The history of the development of the Byzantine branch began with the Baptism of Rus Prince Vladimir. A lot of masters, who erected the temples and tutorials of this craft and the iconistics of local craftsmen were invited. The most ancient church was wooden. She, unfortunately, was not preserved.
At the beginning of the XIII century, Batiya ruled almost everything in the surviving Pskov and Novgorod continued to do craftsmen. One of them was the famous native of Byzantium. He worked himself and taught the apprentices, one of which was Andrei Rublev. The names of the works of the ancient Russian painting icon painter - "Annunciation", "Descent to hell" and many others - are widely known even to those who are not interested in art deeply.
Icon Rublev
Andrei Rublev's icons and frescoes became a model for imitating all other generations. All of them are permeated with contemplation and humility, warmth and love for Christ. It is characteristic of his work from the works of Feofan Greek, who trained Rublev. The Byzantine Master wrote assertively and tragic, he worked. Andrei Rublev invests a part of his own soul into each story. Old Russian painting icon painter does not leave indifferent either connoisseurs nor alternates.
By the end of the XV century, when Russia got rid of Iga Tatar-Mongol, Moscow began to flourish and turned into this Center - the capital of the most powerful state. Architecture was in full swing. The Moscow Kremlin was unrecognizable. A large architectural ensemble appeared, decorated with the Cathedral Square. Temples were decorated with a huge number of icons and frescoes of extraordinary beauty.
All world
At that moment, the princely and boyars began again, the princely and boyars began to order the masters of unique carved items, cups, dishes, most of which were presented in monasteries and temples.
The sewing of ancient Russia is widely known. Significant part of it is presented in the craftsmen embroidered pellets "Kirill Belozersky", hiking iconostasis, "Our Lady Unalmable" and others. All of them are presented in the Russian Museum and make up a significant part of the artistic property of the Russian state.
The XVII century is famous for art splash in architecture. The most important heritage is the Armory, created by the best masters. The same time was marked by the beginning of portrait creativity in Russia. Tsarist individuals were depicted in the technique of iconographic letters. The names of the works of the Old Russian painting in Parsunn Creativity are widely known, for example, the "Chinese cross" Bogdan Saltanova.
The events of 1917 led to the domination of atheism. Many monuments of the ancient Russian painting and architecture were lost forever, which led to the impossibility of studying the Great Orthodox Epoch. However, after many years, the interest in his history took over and now, at his peak, the icons again occupy their legitimate places in Russian temples.