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 models, “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 models, “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.
Our Lady of Oranta. Mosaic The image of the Mother of God in Rus' has always been given much greater importance than the Virgin Mary in the Catholic Church. Each image of the Mother of God has its own meaning. Church traditions preserve the history of the creation and appearance in Rus' of icons with the image of the Most Holy Theotokos as highly revered. The image of the Mother of God in Rus' has always been given much more importance than the Virgin Mary in the Catholic Church. Each image of the Mother of God has its own meaning. Church traditions preserve the history of the creation and appearance in Rus' of icons with the image of the Most Holy Theotokos as highly revered.
Our Lady. Oranta “Unbreakable Wall! Mother of all things, great Bereginya, Intercessor of people, Oranta.” The Russian people endowed the image of Mary with such epithets. "Indestructible Wall! Mother of all things, great Bereginya, Intercessor of people, Oranta.” The Russian people endowed the image of Mary with such epithets.
Our Lady of Vladimir The embrace of the Mother of God and the Divine Child reveals the fullness of Divine love, the highest manifestation of which is the sacrifice made by Christ for the salvation of people. It is this sacrifice that is recalled by the image of the throne with the instruments of the passion on the back of the icon, made at the beginning of the 15th century. The embrace of the Mother of God and the Divine Child reveals the fullness of Divine love, the highest manifestation of which is the sacrifice made by Christ for the salvation of people. It is this sacrifice that is recalled by the image of the throne with the instruments of the passion on the back of the icon, made at the beginning of the 15th century.
Our Lady of Vladimir. Reverse side of the icon. Throne and instruments of the passion of the Mother of God of Vladimir. Reverse side of the icon. The Throne and Instruments of the Passion The icon “Our Lady of Vladimir” is one of the most ancient and famous shrines of the Russian Church. The history of the Vladimir miraculous icon is closely connected with the history of the Russian state; it is with it that tradition connects the rise of North-Eastern and then Moscow Rus'. As ancient chronicles and literary legends testify, through this icon the Mother of God often provided miraculous help and protection to Vladimir, Moscow and the entire Russian land.
Pantocrator. Fresco from the Church of the Savior on Ilyin In terms of monumentality and powerful picturesque temperament, the frescoes of Theophanes the Greek occupy a special place in the world art of the 14th century. According to the canon, Christ the Pantocrator is depicted in the dome of the temple. God is stern and formidable. Due to their monumentality and powerful picturesque temperament, the frescoes of Theophanes the Greek occupy a special place in the world art of the 14th century. According to the canon, Christ the Pantocrator is depicted in the dome of the temple. God is stern and formidable.
Elder Macarius of Egypt. Fresco The grandiose image of Macarius of Egypt will be remembered forever. The contrast of the dark face, dark palms turned in prayer to God, and white hair and the long, snow-white flow of a falling beard is striking. Instead of a human body there is a luminous white pillar, a miraculously transformed human nature. The grandiose image of Macarius of Egypt is remembered forever. The contrast of the dark face, dark palms turned in prayer to God, and white hair and the long, snow-white flow of a falling beard is striking. Instead of a human body there is a luminous white pillar, a miraculously transformed human nature.
Miracle of George about the serpent. Icon. The people of Novgorod especially loved Saint George, a brave horseman-warrior who slays a monster-dragon with a spear. In the minds of the people of that time, Yegor the Brave, as he was popularly called, was the embodiment of a bright principle that defeated a force hostile to man; he was often seen as a fearless warrior, a defender of the Motherland.
Battle of Novgorodians with Suzdalians Second half of the 15th century. The icon “Battle of Novgorodians with Suzdalians (Miracle from the “Sign” icon)” comes from the Assumption Church in the village of Kuritskoye on Lake Ilmen. This original iconographic type is based on the legend about the icon “Our Lady of the Sign”, which miraculously helped Novgorod during the siege of it by Suzdal troops in 1170.
Dmitry Solunsky. Icon In the history of the Russian Orthodox Church, military themes have always occupied an important place, this was manifested in the special veneration of those holy martyrs who were warriors by occupation. The images of martyred warriors reflected the ideal idea of courage, selfless bravery, faith and loyalty to their Fatherland, because it was an Orthodox Fatherland, and feat of arms in Orthodox countries was considered the highest form of Christian service. The images of martyred warriors reflected the ideal idea of courage, selfless bravery, faith and loyalty to one’s Fatherland, because it was an Orthodox Fatherland, and feat of arms in Orthodox countries was considered the highest form of Christian service.
Fresco of the Ferapontov Monastery. Saint Nicholas Dionysius significantly changes the image of a person: the figures are greatly lengthened, the head, arms and legs are emphasized. This reflected the aristocratic tastes of royal Moscow. Harmony, absolute inner balance, festive admiration are characteristic of the work of Dionysius.
Crucifixion. Dionysius The Crucifixion icon comes from the festive row of the iconostasis of the Trinity Cathedral of the Pavlo-Obnorsky Monastery near Vologda. The “Crucifixion” icon comes from the festive row of the iconostasis of the Trinity Cathedral of the Pavlo-Obnorsky Monastery near Vologda.
Frescoes in the Assumption Cathedral of Vladimir Andrei Rublev In 1408, Andrei Rublev and Daniil Cherny decorated the most revered temple of Moscow Rus' - the Assumption Cathedral in Vladimir with frescoes and icons. Among the surviving fragments, the best preserved is the image of the Last Judgment, which occupied the western part of the three naves of the cathedral. In 1408, Andrei Rublev and Daniil Cherny decorated the most revered temple of Muscovite Rus', the Assumption Cathedral in Vladimir, with frescoes and icons. Among the surviving fragments, the best preserved is the image of the Last Judgment, which occupied the western part of the three naves of the cathedral.
Saved. From the Deesis rank (Zvenigorod) Andrei Rublev Despite the absence of any historical evidence, the icons of the Zvenigorod rank are considered by most researchers to be the works of Andrei Rublev. Despite the absence of any historical evidence, the icons of the Zvenigorod rank are considered by most researchers as the works of Andrei Rublev.
Trinity Andrei Rublev “Let them all be one, just as You, Father, are in Me, and I in You, so may they also be one in Us.” “Let them all be one, just as You, Father, are in Me, and I in You, so let they also be one in Us.”
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 andDivine 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 poeticspiritualized
unknown image
the icon painter revealed
your idea
about beauty.
Pantocrator. Fresco from the Church of the Savior on Ilyin
By monumentality andto 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 MacariusEgyptian 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 loveNovgorodians 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 with Suzdalians Second half of the 15th century. .
Icon "Battle of Novgorodians withSuzdal 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 historyOrthodox 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 landfrescoes 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 significantlychanges 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 decoratedfrescoes 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.
Saved. From the Deesis rank (Zvenigorod) Rublev Andrey
Despite the absenceany
historical
testimonies, icons
Zvenigorod rank
are being considered
majority
researchers as
works by Andrey
Rublev.
Trinity Rublev Andrey
"Let there be allone like you
Father, in Me, and
I am in You, so am I
let them be in
We are one."
Class: 10
Presentation for the lesson
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The purpose of the lessons on the topic: acquaintance with masterpieces of Russian architecture and icon painting.
Objective of the introductory lesson:
To give a general idea of the architectural appearance and fine arts of Ancient Rus' as a successor of Byzantine Christian traditions
Determine the importance of studying cultural and historical monuments of your country, preserving cultural heritage
If a person is indifferent to the historical monuments of his country, he is, as a rule, indifferent to his country.
D.S. Likhachev
During the classes
I. Teacher's opening speech.
The first appeal to domestic artistic culture as a unique and original phenomenon of enduring global significance."
- Recording the topic and defining the purpose of the lesson
- (Slide 1-3)
- Commentary on the epigraph (November 28, 2010 - 104 years since the birth of Academician D.S. Likhachev, a specialist in the culture of Ancient Rus')
II. AOZn on the topic “Culture of the Middle Ages”
(Christianity and its decisive role in the development of European artistic culture)
What determine the features of medieval European art? – Spread of Christianity
What era was replaced by the Middle Ages? – Antiquity
The center of medieval Christian culture was - Byzantium
Which city was destined to become the New Rome? Constantinople (now Istanbul)
III. Repetition of the theme “The World of Byzantine Culture”
(Temple of Sophia in Constantinople)
Slides 4-5
Name the architectural monument - Saint Sophie Cathedral
Slide 6
Comment on the name of the cathedral - Sophia - wisdom
Slide 7
What events are associated with the following dates in the history of the cathedral?
- February 23, 533 – December 27, 537 – beginning of construction and lighting of the temple
- 1453 – going to the mosque
- 1935 – obtaining museum status
Slide 8
Comment on what you see (temple-museum of two cultures: Christian frescoes and mosaics and Muslim ornaments and quotations from the Koran on four large oval-shaped shields)
What does fine art represent? (frescoes and mosaics in churches, icons - definition)
Slide 9 Frescoes and mosaics
Slide 10 Basilica
What type of early Christian temple construction do you see on screen? – basilica
Slide 11 Basilica
- Basilica (Greek βασιλική - royal house) is a type of rectangular building that consists of an odd number (3 or 5) of naves of different heights.
- The naves are divided by longitudinal rows of columns or pillars, with independent coverings.
- The central nave is wider and higher in height, illuminated by windows of the second tier and ends with an apse (Latin absida, Greek hapsidos - vault, arch), crowned with a semi-dome.
Slide 12 Hagia Sophia in section
What appeared in the temple buildings of traditional basilicas - dome
What is this type of temple called? – cross-domed
Slide 13 Cross-domed temple
- The architectural type of Christian church, formed in Byzantium and in the countries of the Christian East in the V-VIII centuries.
- It became dominant in the architecture of Byzantium from the 9th century and was adopted by Christian countries of the Orthodox confession as the main form of the temple.
Slide 14 Domed temple
The roof of the temple is crowned with a dome with a cross.
According to widespread tradition, Orthodox churches have:
- or 1 dome,
- or 3 domes - one each over the temple, altar and bell tower - in the image of the Trinity,
- or 5 domes symbolizing Christ and the four evangelists around Him,
- or 7 (sacred number),
- or 13 - similar to Christ and His 12 closest apostles.
Slide 15 Transfiguration Cathedral in Pereslavl Zalessky. 1152
Slide 16 Assumption Cathedral in Vladimir. Modern look.
Slide 17 Tent temple
- A special architectural type that appeared and became widespread in Russian temple architecture.
- Instead of a dome, the building of the tented temple ends with a tent.
- Tent churches can be made of wood or stone.
- Stone tented churches appeared at the beginning of the 16th century and have no analogues in the architecture of other countries.
On the slide – Church of the Ascension in Kolomenskoye (1532)
Slide 18 Orthodox church
The Temple has three parts:
- an altar containing an altar and a throne,
- the middle part of the temple, separated from the altar by the iconostasis,
- porch
According to tradition, the temple is always built with the altar facing east
Slide 19 Altar
- the eastern part of the temple, located on a hill, intended for clergy and usually separated from the middle part of the temple by an iconostasis.
Slide 20 Narthex
- makes up the westernmost part of the temple and is usually separated from the middle part of the temple by a blank wall.
IV. Film "Russian antiquity - the architectural appearance of Rus'"
V. Commentary on lost monuments.
- extant 8994
- lost 2912
- In Moscow alone, more than 420 monuments of world significance have been destroyed since 1932.
VI. The heart of Russia, the cultural center of Ancient Rus' - Moscow
Slide 21 Moscow is the third Rome
You see the Church of the Assumption of the Blessed Virgin Mary on Pokrovka
- Built 1696–1699
Slide 22 Memoirs of D.S. Likhacheva
- In my youth, I first came to Moscow and accidentally came across the Church of the Assumption on Pokrovka. I didn't know anything about her before. Meeting her stunned me. A frozen cloud of white and red lace rose in front of me. There were no “architectural masses.” Her lightness was such that she all seemed to be the embodiment of an unknown idea, a dream of something unheard of beautiful. It cannot be imagined from surviving photographs and drawings; it had to be seen surrounded by low, ordinary buildings. I lived under the impression of this meeting and later began to study ancient Russian culture precisely under the influence of the impetus I received then.
Slide 23
- Church of the Assumption of the Blessed Virgin Mary on Pokrovka
- Destroyed in 1936.
VII. The problem of preserving ancient monuments “The Wonderworker has returned”
The Kremlin is the calling card of Moscow
Who saw the Kremlin at golden hour in the morning,
When there is fog over the city,
When between the temples with proud simplicity,
Like a king, does the giant tower turn white?
(M. Lermontov)
- The return of cultural and historical monuments is a miracle that is happening.
- Watch the video “The Wonderworker Has Returned” (from the Vesti program)
- Historical commentary by an 11th grade student. Nikolskaya Tower of the Moscow Kremlin ( Annex 1)
VIII. Discussion of creative works based on the text “Love, respect, knowledge...” by D.S. Likhacheva
Slide 26 New Sretensky Church
X. Prize D.S. Likhacheva
Slide 27
St. Petersburg Prize named after Academician D.S. Likhachev is awarded for outstanding contribution to the preservation of the cultural heritage of Russia.
The prize was established by the D. S. Likhachev Foundation together with the Government of St. Petersburg in 2006 - the Year of Academician Likhachev.
The prize is awarded in 4 categories:
- preservation of historical and cultural monuments;
- preservation of museum, library and archival collections;
- development of the local history movement in Russia;
- propaganda of the historical and cultural heritage of Russia.
The award includes a specially designed Likhachev medal and a commemorative diploma.
XI. Presentation of drawings by D.S. Likhachev and school students.
XII. Final word.
Slide 28
“Respect for the past is the trait that distinguishes education from savagery.”
A. Pushkin
XIII. Homework.
Preparation of presentations on the topic “Architectural appearance of Ancient Rus'” (memo is given to everyone)
Memo
Required elements of a presentation on the topic “Architecture of Ancient Rus'”
- History of the creation of the monument
- Features of the architectural appearance, external and internal decoration
- The fate of the monument to date
- The monument as assessed by contemporaries and descendants
