At the lecture “How to be surprised by Moscow: architecture in details,” organized by Level One, the architectural historian spoke about the significant stages in the development of Moscow architecture of the 14th-20th centuries, and also taught how to accurately determine the style and time of construction by “telling” details.
Moscow churches of the 12th-14th centuries: the time of the capital's first ambitions
Moscow was first mentioned in chronicles in 1147. But stone buildings on the territory of the Moscow principality appeared only a century and a half later, and not in the city itself, but on the outskirts.
St. Nicholas Church in the village of Kamenskoye, Naro-Fominsk district
Reached to this day St. Nicholas Church in the village of Kamenskoye, Naro-Fominsk district. This church is very simple, even primitive, in architectural terms. The decoration includes a perspective portal with a keel-shaped arch (such an arch with a “tongue of flame” will become a purely Moscow architectural feature for centuries).
Church of the Assumption on Gorodok in Zvenigorod
Built at the end of the 14th century Church of the Assumption on Gorodok in Zvenigorod. He is only a few decades older than Nikolsky, but before us is a much more mature work. We see the same perspective portal and keeled arch, but columns and an ornamental belt appear, as well as narrow windows and tiers.
Where did the columns come from? Of course, from antiquity. Have Moscow architects gone on a creative trip to the Peloponnese? Obviously not. They were inspired by the architecture of the Vladimir-Suzdal principality, which was the center of pre-Mongol Rus'. During the heyday of the principality, Vladimir-Suzdal architects managed to achieve perfection in understanding the ancient heritage.
One of the peaks of white stone architecture of that time has survived to this day - this Church of the Intercession on the Nerl. Here we see reinterpreted antique elements - columns, ornamental belt, plinth, cornice in a very harmonious design.
Moscow masters at the end of the 14th century were guided by the architecture of the Vladimir land (especially since in terms of statehood Moscow was supposed to become its successor), but not yet very skillfully.
XV-XVI centuries: Italians in Russia
Assumption Cathedral
The main buildings of this time were the cathedrals of the Moscow Kremlin. Assumption Cathedral– the last one, built in the “Old Moscow” style with its inherent asceticism. It was built by an Italian, who was given instructions to “make it like in Vladimir,” explains Dmitry Bezzubtsev.
Cathedral of the Archangel
And here Cathedral of the Archangel, decorated with Venetian shells, is reminiscent of the European Renaissance. It is richly decorated, and this decor is done very skillfully - you can feel the hand of an Italian. In general, according to Dmitry, this is “ new level awareness" for Moscow architecture.
Church of the Life-Giving Trinity in Khoroshev
Temple Life-Giving Trinity in Khoroshev, once built on the estate of Boris Godunov, is another monument of this time. Presumably it was built according to the design of the Russian architect Fyodor Kon, but the Italian influence is felt - the laws of symmetry are observed here perfectly.
17th century: irrational pattern making
In the 17th century, Italians no longer built in Russia. Domestic masters are completely updating the architectural language. The main distinctive features of the new style, which is called patterning, are irrationality and picturesqueness. This is “the juiciest thing that has been created by Moscow architecture,” comments Dmitry Bezzubtsev.
Examples of such buildings can be found in the very center of Moscow - this is a bright Church of St. Nicholas in Khamovniki And Church of the Nativity of the Virgin Mary in Putinki(it became white in our time, but was originally painted).
If you look closely at these temples, you can see a huge variety of architectural details scattered throughout the building in a whimsical and asymmetrical manner. Look, for example, at how the windows of the St. Nicholas Church are made: all the platbands different shapes(but almost everyone has a reference to the Moscow keel shape), the windows are located at different distances relative to the edge of the walls and each other (this is called “staggered windows”), and in some places the platband “creeps” onto the cornice. The structure as a whole is asymmetrical: the refectory is attached to the main volume of the temple randomly, the bell tower is offset from the central axis.
Church of the Nativity of the Virgin Mary in Putinki
We see the same in Church of the Nativity of the Virgin Mary in Putinki. Here it is interesting to pay attention to the joints of different parts of the building, which literally “crawl” into each other, to the fact that the external architecture does not reflect the internal structure of the building.
Resurrection (Iveron) Gate
An example of a more aristocratic, orderly pattern can be found on Red Square - these are recreated in the 90s of the 20th century Resurrection (Iveron) Gate. The shapes and decor characteristic of the 17th century are arranged neatly and symmetrically.
Verkhospassky Cathedral in the Kremlin
One more example - Verkhospassky Cathedral in the Kremlin. Its elegant domes are clearly visible from the Alexander Garden.
18th century: Naryshkinsky and simply baroque
In the 18th century, Moscow architecture again looked to the West. The connecting link between the architecture of old patriarchal Moscow and the new style of St. Petersburg, built in the Western European spirit - Peter's Baroque - was the Naryshkin style.
Church of the Intercession of the Virgin Mary in Fili
The most famous examples Naryshkin baroque - Church of the Intercession of the Virgin Mary in Fili, Spassky Church in the village of Ubory, Odintsovo district.
Spassky Church in the village of Ubory, Odintsovo district
The peculiarity of Naryshkin's style is the mixture of contradictory trends and currents. On the one hand, we see the features of European Baroque and Mannerism, echoes of Gothic, Renaissance, Romanticism, on the other – the traditions of Russian wooden architecture and ancient Russian stone architecture.
In Bolshoi Kharitonyevsky Lane there is an interesting monument of civil architecture of the Naryshkin Baroque. It recently became available to the public as a museum.
But there is almost no genuine, high-class baroque, similar to what can be found in St. Petersburg, in Moscow. One feels that at this time Moscow is a province. However, on Red Square itself we can admire house of the provincial government, on Staraya Basmannaya – Temple of the Martyr Nikita.
In general, baroque is “an excellent student who is trying to pretend to be a poor student,” jokes Dmitry Bezzubtsev. This style is based on the order, that is, the laws of symmetry and order, but its distinctive features are “broken” arches and pediments, free curves, whimsical, excessive decor.
XVIII-XIX centuries: the era of urban estates and imperial empire
First city hospital
Classicism flourished in Moscow and lasted a long time - about 800 architectural monuments in this style are still preserved. The nobility especially often built classicist urban estates. Classicism is based on simple geometric shapes, order, and order. He “stops having complexes about empty space,” says Dmitry Bezzubtsev, showing the building First city hospital.
Indeed, only the central portal here is decorated, the rest of the walls are practically empty. Temples were also built in the classicist style; example – .
Manege
The most “elegant” version of classicism is the Empire style. Empire-style buildings were created for his empire by Napoleon Bonaparte. After the victory over Napoleon, Russia “conquered” his style. To achieve the impression of elation and solemnity, the upper part of the building was enlarged. For example, near the building Manege the pediment is greatly enlarged. Also a distinctive feature of the style is military, especially antique, symbolism in the decor.
The end of the 19th century: a time of eclecticism
From the 19th century, styles begin to blur, and this becomes especially noticeable towards the end of the century. For example, a real “collection of quotes”. We can see keeled arches, Romanesque “hanging” columns, a composition echoing St. Isaac's Cathedral(large central dome and four belfries), and so on.
Or a building Historical Museum: There are many quotes from the era of pattern making, but the symmetry of the building and the simple size indicate that this is not the 17th century.
Marfo-Mariinskaya Convent
A Marfo-Mariinskaya Convent– a combination of neo-archaic with motifs of Novgorod architecture and modernism.
– neoclassicism: we see a portal typical of classicism, but the colonnade runs along the entire facade, the size of the building indicates technical capabilities unimaginable in the period of true classicism.
Early 20th century: cozy modern
Many mansions were built in the Art Nouveau style in Moscow. The principle of “from the inside out”, characteristic of Art Nouveau, came in very handy in the construction of private houses: first they planned the number and location of rooms, then they came up with the outer shell. The architect becomes an artist: he can draw, for example, his own window shape.
Ryabushinsky Mansion
New materials are actively used - for example, metal, decorative plaster, tiles (“Eclecticism shyly covered up metal structures,” notes Bezzubtsev), and a new interpretation of wood. A magnificent example of Art Nouveau - Ryabushinsky mansion.
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Moscow has something to be proud of. After the Italian influence, Russian architecture was able to come up with a new full-fledged language - patterning. To catch up with world architecture and create buildings in the best traditions of European classicism. Then renounce tradition and offer cozy modernity. Finally, discover the avant-garde and influence the appearance of cities around the world. But this will be a separate conversation.
Have you read the article Temples of Moscow: 7 architectural details. Read also.
Moscow is famous not only for its historical architecture, or the architecture of Soviet times. And not even modern architecture. Moscow is famous for its temple architecture, which is simply magnificent in the capital of Russia. Temples, cathedrals, churches - all these places of pilgrimage for believers are in Moscow, and they all stand high in the diocese of the Moscow Orthodox Church. Moscow churches have always been considered the place closest to God, therefore, most examples of Moscow temple architecture are luxurious in appearance!
The most striking examples of temple architecture in Moscow
It was the churches and cathedrals of Moscow that survived all the misfortunes that the capital of Russia experienced, and once again proved the validity of the historical axiom - the most safe place, this place is in the temple.
Archangel Cathedral of the Moscow Kremlin- one of the most famous cathedrals in Russia. The history of the cathedral dates back to the reign of Mikhail Khorobit (mid-13th century). The modern cathedral was founded in 1508. For a long time, the cathedral served for holding funeral services on the dates of death of rulers. In 1913, the Archangel Cathedral was restored and its decorations were improved. The five-domed temple, whose walls were decorated with Renaissance elements, is considered one of the holiest places in the Moscow Orthodox Church.
Assumption Cathedral of the Moscow Kremlin– the temple, which was supposed to be built in 1975, was never completed, as a large earthquake destroyed the unfinished structure. The Assumption Cathedral was brought to life in 1479. The appearance of the cathedral is laconic and monolithic with five golden chapters and 12 pillars, into which the internal volume of the cathedral is divided.
Epiphany Monastery Moscow is the oldest monastery in the capital of Russia, built in the 14th century. The building of the Epiphany Monastery was rebuilt many times, and its original territory was reduced three times. Now the Epiphany Cathedral has been transferred to the Moscow Church, and services are held there.
Blagoveshchensky cathedral on Cathedral Square - a luxurious example of Moscow temple architecture. The cathedral is famous for its decoration - images of ancient Greek thinkers and sages, paintings and a huge iconostasis.
St. Basil's Cathedral- a cathedral that embodies the face of the Moscow Church. The cathedral is listed as a UNESCO World Heritage Site. Also, for many, St. Basil's Cathedral has become the main symbol of Moscow. The 65-meter temple is a huge complex, with several churches and luxurious external and internal decoration.
Temple of the Icon of the Mother of God- a luxurious example of modern temple architecture. The temple was built in 2001, and has become an important place for pilgrims of the Moscow diocese. The temple in Maryino became a new round of development of the Moscow church and the first example of temple architecture in the 21st century. A five-domed temple with a copper roof, with symmetrically located domes relative to the central dome, as well as two bell towers.
Church of the Resurrection in Sokolniki - an Orthodox church built in the Art Nouveau architectural style. The temple is made in the shape of a cross, and the altar part is oriented to the south, which is not typical for Orthodox churches. The temple has nine domes - eight are black, and the central dome is covered with gold.
Kazan Cathedral on Red Square- recreated temple in 1993. The temple was consecrated in honor of the icon of the Kazan Mother of God. The temple has a characteristic appearance for Russian temple architecture of the 17th century - a single-domed temple with a hill of kokoshniks.
Cathedral of Christ the Savior – Cathedral, impressive in size, built in 1996. The temple was restored after demolition in 1931, which was carried out in accordance with the decision of the CPSU Central Committee. The temple is famous for its majestic appearance, interior decorations, and numerous shrines - the relics of St. Philaret, as well as numerous offerings of holy relics.
There are hundreds of churches in Moscow, each of which is a significant monument temple architecture worthy of attention.
> Sacred architecture of temples
● Why are temples, churches, etc. Are buildings considered sacred?
● Why do we often feel a special pleasant atmosphere when entering old churches, or, as they say now, positive energy?
● Why do the architecture of temples, as a rule, use strictly defined architectural forms and proportions? Why can’t any building become a sacred structure?
U For a very long time I was interested in the answers to these and other questions. And recently, as an architect, I have become very interested in sacred architecture. I felt an inner need to expand the focus of my activities and start designing temples. But I understood that designing sacred buildings is not at all the same as designing private houses: it is not enough just to have knowledge of building codes and rules and to have artistic taste. Designing sacred buildings requires specific knowledge that is not widely available, as well as a certain level of personal development.
Take a look at the picture below: it shows 3 different temples built in different countries, V different time and in different religious traditions. Do you find any general patterns?
The architecture of these three temples really has something in common, and this commonality lies at their very core, in their essence. The purpose of the temple is in the connection between man and God. And in properly built temples this connection is established automatically. The space of the temple is filled with Divine energy, which is perceived by the person entering it. Why does this happen? This is what I want to talk about now.
To understand everything, it’s better to start the story from afar. You've probably heard about quantum physics and wave-particle duality. Modern physicists have discovered what the sages of antiquity spoke about: the materiality, the tangibility of everything that exists in this world is illusory. The world around us turned out to be much more complex than materialists imagine. Everything that surrounds us is vibration, energy. Each object vibrates at a certain frequency and emits energy that has qualities corresponding to it. It follows that all the qualities of visible objects (color, shape, proportions, texture, texture, temperature, etc.) are a set of certain energies emitted in space, with which we come into contact.
(For those who are completely unfamiliar with these theories, and who would like to know more about this, I can recommend reading the book “The Tao of Physics” (Fritjof Capra).
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The architects of the past knew much more about the world around us, they knew the laws "subtle" energy and knew how to use them. They say that in ancient society, in order to become an architect, it was necessary to study for 15-20 years under the guidance of experienced masters, and the status of an architect was even higher than that of a priest. Our ancestors built buildings (temples), the architecture of which made it possible to connect a person with Divine energy. The temples they built, composed of certain shapes, certain sizes and proportions, are “conductors” of Divine (heavenly, cosmic) energy into our “earthly” world. We can say that temples “connect Heaven with Earth.”
Look at the picture on the left: it shows the mechanism underlying the “transformation” of energy from “heavenly” to “earthly”. In this image, you will probably guess the shapes that make up an Orthodox church: at the base is a quadrangle (cube), on it is an octahedron (octahedron), on it is a dome with a ball on top. Any form (or form in volume) is not just a form, but a certain energy that has its inherent qualities. Only with our “material” vision do we see it as a form.
This ball on top of the temple is a point - a symbol Absolute , containing within itself EVERYTHING that is, everything that can be, from which everything comes. The cube at the base is a symbol of the “earthly” world, a symbol of the human body - the number “4” corresponds to it and sacred symbol - square (in volume - a cube). And between them are the intermediate links necessary to connect the “heavenly and earthly” - these are the octahedron and the circle. In the figure below you can see and trace how this energy transformation occurs:
The flow of energy in temples also works in reverse side- lifts our prayers to God.
The “subtle” the energy, the more powerful it is and you need to handle it very consciously and carefully. The space of the temple is filled with very strong energy, so you cannot live in temples - the energy is so strong that the human body cannot perceive it long time. For this reason, temple architecture is strictly sacred and is not suitable for residential construction.
If you look at the temples of different religions (see the picture with three temples), you can see that they use the same principle that I have just described. What does this mean? Perhaps that behind the visible external differences lies the internal unity religions.
The example given here of the use of sacred forms is not the only one known to mankind. There are many sacred symbols that have their own energy, which are also used in architecture (and not only in it) to achieve certain goals.
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If an investor plans to build an Orthodox or Catholic church, synagogue, mosque, datsan, etc., then when developing a specific project it is necessary to take into account the architectural features that have historically developed in the religious culture.
This article is intended not for a specific customer or investor who wants to build this or that religious object in a metropolis, but rather as general information and clarification for those who do not understand the intricacies, and sometimes even the main points, of the architecture of any denomination, since you often have to deal with the fact that the interlocutor does not see the difference between a mosque, a temple and a church.
Every business, and especially such as the design of religious objects, has its own rules, which consist of the following factors:
- general requirements of a given denomination for its places of worship;
- local and national characteristics of the same denomination, because it is no secret that mosques in the UAE and Turkey are significantly different from their counterparts in Samarkand and Bukhara;
- stylistic features surrounding buildings, since most often a new object has to fit into the already existing architectural environment;
- climatic features;
- construction features;
In order to understand the features of the architecture of the confession, it is necessary to turn a little to history and understand what caused these or those requirements.
Often they are caused rather by some exclusively historical fact, which at a certain moment is recorded by historians and chronographs - “this is how it happened historically.” In such cases, one should not look for excessively deep meaning in the formation of certain images; they are simply dictated by fashion and human desire of that time.
For example, here we can cite the title of the Roman first hierarch - Pope.
Let us turn first of all to those religions that in the general sense are called monotheistic.
Monotheism, that is, monotheism, is a very ancient concept, the main feature of which is the belief that there is one God, but later significant differences begin in various aspects of the understanding of this unity.
Another mystical feature of monotheistic temples is that the temple is not presented as the dwelling of a deity, as in pagan cults, where the deity “dwells” (lives), “feeds” (accepts sacrifices), and where special rituals are required to enter inside such a temple.
ARCHITECTURAL TRADITION OF ORTHODOXY
The doctrinal features of Christian confessions is the concept of God the Trinity, revealed in earthly life in the person of Jesus Christ. Center Christian life is the divine service-Eucharist (Greek. εὐ-χᾰριστία - thanksgiving), and the goal is universal salvation.
From here you can see certain features of the construction of Christian churches, where the center is the altar, as an image of the Heavenly world, and the rest of the space, personifying the lower world, is dynamic and, as it were, leads the viewer towards the altar.
The interior is characterized by the rhythm of beams or individual columns, pilasters, floor patterns, rows of icons and windows, a row of chandeliers or choirs, and all this ends with an altar barrier-iconostasis, which stands perpendicular to the main space and is most often performed as a perspective portal, which further enhances the movement space from the entrance to the altar.
Another feature that can be noted is that the main part of the temple, the altar, faces the East.
Wherever the temple is located, it will certainly face the main entrance (most often) to the West, and the altar to the East, which is determined when the temple is laid by the rising of the sun, since in the Christian religion Christ is called the Sun of Truth.
These features are typical for Orthodox churches, Old Orthodox (Pre-Chalcedonian) churches: Coptic, Syro-Jacobite, Old Believers (Belokrinnitsa consent).
Along with the listed churches, there are a number of Christian denominations that, for one reason or another, rejected the decisions of church councils and other rules of Christian life of that time, and often simply for political reasons, which led to changes in their theology, and therefore the architecture of churches .
TEMPLES OF THE CATHOLIC CHURCH
For example, the Catholic Church (from the Greek καθ - by and όλη - whole; όικουμένη - universe) did not accept the tradition of erecting iconostases in churches and we can perfectly observe completely open altar spaces, but at the same time the rhythm of the temple space itself from the entrance to the altar is preserved.
Along with this, the artistic practice of Catholics included the widespread use of sculptures instead of icons, although the latter are also found in Catholic churches, but in the form of frescoes.
Rhythmic rows of sculptures and sculptural compositions, rich plasticity of forms and powerful emotional load, characteristic of sculpture as a whole, create unique interiors of Catholic churches.
It would also be appropriate to recall the churches of the Armenian Apostolic Church, the peculiarity of which is the absence of an iconostasis, icons as such, although not always wall images. The interior space is also subject to rhythm and faces the altar.
ARCHITECTURE OF PROTESTANT TEMPLES
Protestant churches, or churches as they are more often called, are rather places of prayer and religious gatherings, devoid of sacred (mystical) places.
After the reform of Martin Luther, who rejected the hegemony and formalism of the Catholic Church and wrote his “95 Theses,” a small movement of his adherents (Latin reformatio - correction, restoration) began to gain strength.
Rejection Sacred Tradition church, ritualism and ritualism, the replacement of the Revelation with individual human knowledge led to the fact that churches as such became unnecessary “you can pray anywhere, because God is in your soul.” But nevertheless, later Protestant groups of believers began to build places of meeting and common prayer for themselves.
The characteristic features of such buildings are:
- the absence of an altar part as such, and therefore a sacred component of the temple, since God is in the soul, then earthly (low) material embodiments of the heavenly are unnecessary or simply not needed;
- building a common prayer space as a lecture auditorium facing the place where the altar is located in Orthodox, Catholic and Armenian churches;
But despite this external image Protestant churches continue to preserve the features of temple architecture of Orthodox or Catholic architecture. Instead of the altar, a pulpit appears for the preacher-pastor (Hebrew רועה, Latin pastor “shepherd” or “shepherd”), a common prayer space is still preserved, in many churches you can see choirs and even organs that are used behind the common prayer.
A common feature of the listed religious groups is the free location of their temples in environment. It is enough to walk along Nevsky Prospekt in St. Petersburg to see churches of various religious denominations facing different sides Sveta. Such a free arrangement makes it easy for architectural approaches and solving urban planning problems.
Along with the listed churches, it is necessary to remember the priestless Old Believers. The temple architecture of these groups of Christian denominations is not very diverse and rather tends to imitate antiquity. Preservation of the ancient (original) way of life in family life, national clothes, conservative education, ancient Znamenny and demestvennye singing at divine services, led to a kind of conservation of these religious minority groups, which in turn led to the use of only “Donikon” motifs in their architecture, with almost obligatory wall paintings (frescoes).
A special feature is also the absence of iconostasis, since there is no clergy in these groups. Such groups include the Pomeranian Consent, the Dark Believers, the Ash Consent, the Island Consent, the Kulugurs, the Fedoseevites, the Netovites, and so on. Most of these groups lived or live in Siberia and beyond the Urals. Many of them do not build churches at all, but use houses of worship for prayer meetings, following the example of Protestants, taking into account national characteristics, sometimes outwardly simply similar to huts.
FEATURES OF ISLAMIC ARCHITECTURE
Along with Christianity, Islam and Judaism are also monotheistic religions, and upon cursory examination, it may seem to an inexperienced viewer that the religious architecture of these faiths is practically no different from Christian architecture. But this is at first glance.
Islam (Arabic: الإسلام - humility, submission), as an independent belief, originated in the 7th century. The basic concepts of Islam are:
- -belief in Allah, the creator of everything that we see and what is invisible (the angelic world);
- -belief in Muhammad (Muhammad, Mohammed), that he is the true prophet of Allah to all humanity;
In Islam, there is a historical prohibition on the depiction of humans and all living (animate) things, so as not to resemble Allah himself with this (depiction). A typical example can be given: “It is reported that (once) a man came to ‘Abdullah bin ‘Abbas, may Allah be pleased with them both, and said: “O Abu ‘Abbas, verily, I am a man, and I earn making a living with my own hands by making these images.”
Ibn ‘Abbas said: “I will only tell you what I heard from the Messenger of Allah, may Allah bless him and grant him peace. I heard him say: “Whoever creates (any) image, 1 Allah will subject him to torture until he breathes the spirit into him, but he will never (be able to do this)!” his words,) this man took a deep breath, and his face turned yellow (from fear. Then Ibn 'Abbas) said (to him): “Woe to you, if you really want to continue doing this, then you should (depict) trees and everything that which has no spirit.”
From this passage it is clear that Islam gives the image of a person sacred meaning. In Islamic houses of worship and mosques (Arabic: مسجد [ˈmæsdʒɪd] - “place of worship”) there are completely no images of people and animals, but in all their wealth one can see floral and geometric patterns, intertwined with phrases from the Koran and Sunnah.
Following the example of Christian churches, mosques are most often of the domed type and, like Christian churches, they have their own “belfries” - minarets. The common number of minarets is 2 or 4.
But one can also notice the architectural features of Islamic architecture in different places. For example, after the capture Byzantine Empire Turks in 1453, many Christian churches were converted into mosques, which caused some architectural imitation by Islamic architects.
The mosques that came out from under their hands were prototypes and small copies of the Temple of St. Sophia of the Wisdom of God (Greek Ἁγία Σοφία, in full: Ναός τῆς Ἁγίας τοῦ Θεοῦ Σοφίας; Tur. Ayasof ya). Suffice it to recall the Blue Mosque, located opposite the Church of St. Sophia.
But it cannot be said that all Islamic architecture was imitative and copying in nature. Suffice it to recall the mosques: Bibi-Khanym Mosque in Samarkand, Balyand Mosque in Bukhara, Kalyan Mosque (Taj. Mas?id and Kalon - Great Mosque) in Bukhara, Magoki-Kurpa Mosque (Taj. Magoki kurpa; Blanket Pit) in Bukhara, Bishkek mosques , cathedral mosque in St. Petersburg. and so on. Here you can see a characteristic and incomparable architectural innovation, with all the preservation of Islamic traditions and national characteristics.
The interior space of mosques is most often centric; less common are large mosques (usually modern), in which a large prayer hall with galleries along the edges, reminiscent of choirs, faces the end of the mosque, as if towards the center. The integral attributes of the interior are: a niche facing the Kaaba in Mecca, a place to store the Koran and a pulpit for the preacher-teacher mullah.
Also a characteristic feature internal organization mosques is the construction of small fountains or springs for small and large ablutions of believers, and the separation of prayer places for men and women. And yet the basic rhythm internal space mosques is not the same as in Christian churches, it seems to “circle” the viewer, not allowing him to stop looking at anything and look at anything. Even lines from the Koran and Sunnah seem to be “woven” into the ornament and merge with it, so that at first it is difficult to see them. This one characteristic feature Islamic architecture.
In front of large mosques, courtyards with covered galleries along the edges are arranged for gatherings large quantity believers. Mosques are always made with a single dome in order to emphasize the unity of Allah and are crowned with a crescent moon, the symbol of Islam.
JUDICA ARCHITECTURAL TRADITION
Jewish houses of worship - synagogues are architectural buildings externally and internally similar to Christian temples and Islamic mosques.
Most often, these are multi-tiered structures, in the interior with galleries along the edges of the prayer hall with seating; prayer places are also arranged on these galleries, usually for women.
There is also an architectural rhythm, which seems to direct the viewer deep into the synagogue, where the pulpit of the preacher-rabbi is located (from Aram. רבין rabʹn, possibly through Greek. ραββίνος; from Hebrew. רַב, rav; Yiddish רבֿ, rov/ruv; before one’s own name hoRAV; lit. "great", "significant", "teacher") and where the Torah (Hebrew תּוֹרָה - torah, lit. "teaching, law") is kept in a special niche or on a special elevation).
In the decoration of the synagogues there are no picturesque images of God or angels, since according to Jewish teaching it is impossible to depict what is not visible and forbidden by the commandments, as well as holy Old Testament people.
At the entrance to the synagogues, there are also fonts for ritual ablution - mikveh (Hebrew: מִקְוֶה, in Sephardic pronunciation mikveh, lit. `accumulation [of water]`).
Synagogues are usually crowned with one dome. Very often in the decoration of synagogues (on domes and on trellises) the so-called “star of King David” is found, a characteristic symbol of Judaism.
Qalat Seman, Syria, 5th century
The base of the column of Simeon the Stylite. Syria, 2005 Wikimedia Commons
Monastery of St. Simeon the Stylite - Kalat-Seman. Syria, 2010
Southern facade of the Church of St. Simeon the Stylite. Syria, 2010 Bernard Gagnon / CC BY-SA 3.0
Capitals of the columns of the Church of St. Simeon the Stylite. Syria, 2005 James Gordon / CC BY 2.0
Plan of the Church of St. Simeon the StyliteFrom the book “Civil and religious architecture of Central Syria in the 1st–7th centuries” by Charles Jean Melchior Vogüet. 1865–1877
Today Kalat Seman (Arabic for “Simeon’s fortress”) is the ruins of an ancient monastery near Aleppo in Syria. According to legend, it was in this monastery that Saint Simeon the Stylite performed his ascetic feat. He built a column, and on it a tiny hut, where he lived, praying incessantly, for many years, until his death in 459. At the end of the 5th century, a special building was built above the column, the base of which has survived to this day. More precisely, it is a complex composition of a central (octagonal) and four basilicas extending from it Basilica- a rectangular structure made of an odd number (1, 3, 5) of naves - parts separated by columns..
The idea to perpetuate the memory of Saint Simeon in this way was born under the Byzantine emperor Leo I (457-474) and was implemented already during the reign of Emperor Zeno (474-491). This is a stone structure with wooden ceilings, impeccably made in accordance with late antique traditions, decorated with columns supporting arches with exquisitely profiled arches. The basilicas themselves fully correspond to the type that laid the foundation for all Western Christian architecture.
In principle, until 1054 (that is, before the split of the Church into Orthodox and Catholic), almost all Christian architecture can be considered Orthodox. However, in Kalat-Seman it is already possible to note a feature that would later be more characteristic of Eastern Christian construction practice. This is the desire for centricity of the composition, for the geometric equality of the axes. Catholics subsequently preferred an extended form, a Latin cross with an extension in the opposite direction from the altar - a solution that implied a solemn procession, and not a stay or standing before the throne. Here the basilicas become the sleeves of an almost regular equal-pointed (Greek) cross, as if predicting the appearance in the future of a popular cross in Orthodoxy.
2. Hagia Sophia - Wisdom of God
Constantinople, 6th century
Saint Sophie Cathedral. Istanbul, 2009 David Spender / CC BY 2.0
Central nave of the cathedral Jorge Láscar / CC BY 2.0
Main dome Craig Stanfill / CC BY-SA 2.0
Emperors Constantine and Justinian before the Virgin Mary. Mosaic in the tympanum of the southwestern entrance. 10th century Wikimedia Commons
Cathedral in section. Illustration from the book “Grundriss der Kunstgeschichte” by Wilhelm Lubke and Max Semrau. 1908 Wikimedia Commons
Plan of the cathedral. Illustration from the book “Grundriss der Kunstgeschichte” by Wilhelm Lubke and Max Semrau. 1908 Wikimedia Commons
This cathedral was built long before the paths of Western and Eastern Christianity fundamentally diverged in 1054. It was erected on the site of a burnt basilica as a symbol of the political and spiritual greatness of the newly united Roman Empire. The very consecration in the name of Sophia, the Wisdom of God, indicated that Constantinople was becoming not only the Second Rome, but also the spiritual center of Christians, the Second Jerusalem. After all, it was on the Holy Land that the Temple of Solomon, whom the Lord himself endowed with wisdom, should have risen. To work on the building, Emperor Justinian invited two architects and at the same time outstanding mathematicians (and this is important, considering how complex the structure they conceived and implemented) - Isidore from Miletus and Anthimius from Thrall. They started work in 532 and finished it in 537.
The interior of the Hagia Sophia, decorated with the shimmer of gold-colored mo-za-iks, became a model for many Orthodox churches, where they repeated, if not the forms, then at least the character of the space - not rushing from bottom to top or from west to east, but smoothly swirling (one might say, swirling), solemnly ascending to the sky towards the streams of light pouring from the windows under the dome.
The cathedral became a model not only as the main temple of all Eastern Christian churches, but also as a building in which the new constructive principle worked effectively (it has, however, been known since ancient Roman times, but its full application in large buildings began precisely in Byzantium) . The round dome does not rest on a solid ring wall, as, for example, in the Roman Pantheon, but on concave triangular elements -. Thanks to this technique, only four supports are sufficient to support the circular arch, the passage between which is open. This design - a dome on sails - was later widely used in both the East and the West, but it became iconic for Orthodox architecture: large cathedrals, as a rule, were built using this technology. It even received a symbolic interpretation: evangelists are almost always depicted on the sails - a reliable support for the Christian faith.
3. Nea Moni (New Monastery)
Chios Island, Greece, 1st half of the 11th century
Bell tower of the Nea Moni monasteryMariza Georgalou / CC BY-SA 4.0
General view of the monasteryBruno Sarlandie / CC BY-NC-ND 2.0
Mosaic “Baptism of the Lord” of the catholicon - Church of the Assumption Holy Mother of God. 11th century
Katholikon is the cathedral church of the monastery.
Wikimedia CommonsSectional plan of the catholicon. From the book "An Illustrated Guide to Architecture" by James Fergusson. 1855 Wikimedia Commons
Plan of the Catholicon bisanzioit.blogspot.com
In Orthodoxy there is an important concept - the prayer of an icon or place, when the holiness of a sacred object is, as it were, multiplied by the prayers of many generations of believers. In this sense, a small monastery on a distant island is rightfully one of the most revered monasteries in Greece. It was founded in the middle of the 11th century by Constantine IX Monomakh Constantine IX Monomakh(1000-1055) - Byzantine emperor from the Macedonian dynasty. in fulfillment of a vow. Constantine promised to build a church in the name of the Most Holy Theotokos if the prophecy came true and he took the throne of the Byzantine emperor. Stauro-pygian status The highest status of a monastery, monastery, cathedral, making them independent of the local diocese and subordinate directly to the patriarch or Synod. The Patriarchate of Constantinople allowed the monastery to exist in relative prosperity for several centuries even after the fall of Byzantium.
The catholicon, that is, the cathedral church of the monastery, is the Church of the Assumption of the Blessed Virgin Mary. First of all, it is famous for its outstanding mosaics, but the architectural solutions also deserve close attention.
Although the outside of the temple is similar to the usual single-domed buildings in Russia, inside it is arranged differently. In the Mediterranean lands of that era, it was better felt that one of the ancestors of the domed Orthodox church (including the Church of Hagia Irene and Hagia Sophia in Constantinople) was an ancient Roman basilica. The cross is almost not expressed in plan; it is rather implied than existing in the material. The plan itself is stretched from west to east, three parts are clearly distinguishable. Firstly, the narthex, that is, the preliminary room. According to the Mediterranean tradition, there can be several narthexes (here they were also used as tombs), one of them opens into a semicircular plan attached to the sides. Secondly, the main space is . And finally, the altar part. Here it is developed, the semicircles do not immediately adjoin the under-dome space, an additional zone is located between them - . The most interesting thing can be seen in the naos. A centric building is inscribed in the square formed by the external walls. The wide dome rests on a system of hemispherical vaults, which gives the entire room a resemblance to the outstanding monuments of the times of the power of the Eastern Roman Empire - the Church of Saints Sergius and Bacchus in Constantinople and the Basilica of San Vitale in Ravenna.
4. Cathedral of the Twelve Apostles (Svetitskhoveli)
Mtskheta, Georgia, XI century
Svetitskhoveli Cathedral. Mtskheta, Georgia Viktor K. / CC BY-NC-ND 2.0
Eastern façade of the cathedral Diego Delso / CC BY-SA 4.0
Interior view of the cathedral Viktor K. / CC BY-NC-ND 2.0
Wikimedia Commons
Fragment of a fresco with a scene Last Judgment Diego Delso / CC BY-SA 4.0
Sectional plan of the cathedral Wikimedia Commons
Cathedral plan Wikimedia Commons
The cathedral is beautiful in itself, but we must remember that it is also part of a cultural, historical and religious complex that has been formed over several centuries. The Mtkvari (Kura) and Aragvi rivers, the Jvari monastery towering above the city (built at the turn of the 6th-7th centuries), Mount Tabor with the Temple of the Transfiguration and other objects that had the same names as their Palestinian prototypes were in Georgia, the image of the Holy Land, transferred to Iveria the sacred content of the place where the action of New Testament history once unfolded.
Svetitskhoveli Cathedral is an outstanding monument of world architecture. However, it would be wrong to talk only about its material component, about vaults and walls. A full part of this image are traditions - church and secular.
First of all, it is believed that one of the main relics of Christianity is hidden under the temple - the tunic of the Savior. It was brought from the site of the Lord's crucifixion by Jews - Rabbi Elioz and his brother Longinoz. Elioz gave the shrine to his sister Sidonia, a sincere follower of the Christian faith. The pious virgin died holding it in her hands, and even after death no force could tear the fabric from her clenched palms, so Jesus’ robe also had to be lowered into the grave. A mighty cedar tree grew over the burial site, endowing all living things around with miraculous healing properties.
When Saint Nino came to Iveria at the very beginning of the 4th century, she converted first King Miriam and then all the Georgians to the Christian faith and convinced them to build a church on the burial site of Sidonia. Seven pillars were made from cedar for the first temple; one of them, exuding myrrh, turned out to be miraculous, hence the name Svetitskhoveli - “Life-giving pillar”.
The existing building was built in 1010-1029. Thanks to the inscription on the facade, the name of the architect is known - Arsakidze, and the bas-relief image of a hand gave rise to another legend - however, a typical one. One version says that the delighted king ordered the master’s hand to be cut off so that he could not repeat his masterpiece.
At the beginning of the second millennium, the world was quite a small place, and in the architecture of the temple it is easy to notice features of the Romanesque style that was spreading throughout Europe. Externally, the composition is a cross of two three-nave basilicas under high pitched roofs with a drum under a cone in the center. However, the interior demonstrates that the structure of the temple was designed in the Byzantine tradition - Arsakidze used the cross-dome system, which is well known in Rus'.
Mountain landscapes clearly influenced the aesthetic preferences of Georgians. Unlike most Eastern Christian churches, the drums of Caucasian churches (including Armenian ones) are crowned not with round, but with sharp conical heads, prototypes of which can be found in religious buildings in Iran. The filigree decoration on the surface of the walls is due to high level skills of Caucasian stonemasons. Svetitskhoveli, as well as other pre-Mongol temples in Georgia, is characterized by a clearly legible pyramidal composition. In it, volumes of different sizes form a holistic form (therefore, they are hidden in the general body of the temple, and only two vertical niches of the eastern facade hint at their existence).
5. Studenica (Monastery of the Assumption of the Virgin Mary)
Near Kraljevo, Serbia, 12th century
Eastern facade of the Church of the Assumption of the Blessed Virgin Mary in Studenica JSPhotomorgana / CC BY-SA 3.0
Church of the Assumption of the Blessed Virgin Mary in StudenicaDe kleine rode kater / CC BY-NC-ND 2.0
The Virgin and Child. Relief of the tympanum of the western portal Wikimedia Commons
Fragment of carving on the facade ljubar / CC BY-NC 2.0
Frescoes inside the temple ljubar / CC BY-NC 2.0
Plan of the Church of the Assumption of the Blessed Virgin Mary in Studenica archifeed.blogspot.com
Studenica is a zaduzhbina (or zadushbina): in medieval Serbia this was the name for sacred buildings built for the salvation of the soul. The monastery near the city of Kraljevo is the home of Stefan Nemanja, the founder of the Serbian state. He also retired here, having taken monastic vows and renounced the throne. Stefan Nemanja was canonized and his relics were buried on the territory of the monastery.
The exact time of construction of the Church of the Assumption of the Blessed Virgin Mary in Studenica is unknown - it is only clear that it was created between 1183 and 1196. But it is clearly visible how the architecture of the building reflected all the subtleties of the political situation of that time. They even talk about a separate “Rash style” (Serbia in those days was often called Raska and Rasiya).
Stefan Nemanja was both at enmity with Byzantium and oriented toward it. If you look closely at the plan of the temple, you can see that, when designing the central part, the architects clearly imitated the internal structure of the Hagia Sophia of Constantinople. This is the so-called type of weak cross, when the space under the dome opens only along the axis from to the altar. But on the side walls, even from the outside, the outlines of wide-standing arches are emphasized, on which a drum of impressive diameter is installed, providing spaciousness under the dome. Following Byzantine tastes is also noticeable in the ornamental motifs - in the window decorating the central apse.
At the same time, while fighting with Byzantium, essentially, in order to become its own worthy partner (in the end, the matter ended in marriage with the Byzantine princess), Nemanja actively entered into alliances with European monarchs: the Hungarian king and emperor of the Holy Roman Empire. These contacts also influenced the appearance of Studenica. The marble cladding of the temple clearly demonstrates that its builders were well acquainted with the main trends of Western European architectural fashion. And the completion of the eastern facade, and the belts under the cornices, and the characteristic window openings with columns instead of pillars certainly make this Serbian monument related to the Romanesque, that is, Roman style.
6. Hagia Sophia
Kyiv, XI century
Hagia Sophia, Kyiv© DIOMEDIA
Hagia Sophia, Kyiv© DIOMEDIA
Domes of Hagia Sophia, Kyiv
Hagia Sophia, Kyiv
Mosaic depicting the Fathers of the Church in Hagia Sophia. 11th century
Our Lady of Oranta. Mosaic in the altar of the cathedral. 11th century Wikipedia Commons
Cathedral plan artyx.ru
The cathedral, built at the beginning of the 11th century (about exact dates scientists argue, but there is no doubt that it was completed and consecrated under Yaroslav the Wise), it cannot be called the first stone temple in Rus'. Back in 996, the Church of the Assumption of the Blessed Virgin Mary, better known as the Tithe Church, appeared on the banks of the Dnieper. In 1240 it was destroyed by Batu Khan. The remains of the foundations, studied by archaeologists, indicate that it was she who formed, in modern terms, the typology of the Russian Orthodox church.
But, of course, the building that truly influenced the appearance of Orthodox architecture in the vastness of Rus' was St. Sophia of Kiev. Constantino-Polish masters created a huge temple in the capital city - one that had not been built for a long time in Byzantium itself.
The dedication to the Wisdom of God, of course, referred to the building of the same name on the banks of the Bosphorus, the center of the Eastern Christian world. Of course, the idea that the Second Rome could be replaced by the Third could not yet have been born. But each city, having acquired its own Sophia, to some extent began to lay claim to the title of the Second Constantinople. St. Sophia Cathedrals were built in Novgorod and Polotsk. But a century later, Andrei Bogolyubsky, building a majestic temple in Vladimir, which he saw as an alternative to Kyiv, dedicated it to the Dormition of the Blessed Virgin Mary: obviously, this was a symbolic gesture, a manifesto of independence, including spiritual.
Unlike the dedication of the throne, the forms of this temple were never completely repeated. But many decisions have become practically mandatory. For example, drums on which domes are raised, and semicircular ones. For cathedrals, multi-domes became desirable (in St. Sophia of Kyiv, thirteen chapters were initially built, keeping in mind the Savior and the Apostles; then more were added). The basis of the design is the cross-dome system, when the weight of the dome is transferred through the pillars, and the adjacent spaces are covered either with vaults or smaller domes, which has also become the main one in domestic temple construction. And of course, continuous fresco painting of interiors began to be considered the norm. Here, however, some of the walls are covered with magnificent mosaics, and the flickering of gold foil sealed in smalt makes the light of the divine ether visible, inspiring sacred awe and setting believers in a prayerful mood.
Saint Sophia of Kiev demonstrates well the differences between the liturgical features of Western and Eastern Christians, for example, how the problem of accommodating the monarch and his entourage was solved differently. If in imperial cathedrals somewhere on the Rhine, a semblance of an altar (westwerk) was attached to the west, which symbolized the consent of secular and church authorities, then here the prince rose to the (polati), towering above his subjects.
But the main thing is the Catholic basilica, elongated along the axis, with a nave, transept and choir, as if implying a solemn procession. And an Orthodox church, not being, as a rule, a centric structure in the strict sense (that is, fitting into a circle), nevertheless always has a center, a space under the main dome, where, being in front of the altar barrier, the believer is in prayer. upcoming We can say that the Western temple is symbolically an image of the Heavenly Jerusalem promised to the righteous, the goal of the path. The eastern one rather demonstrates the spiritual structure of Creation, the creator and ruler of which is usually depicted at the zenith of the dome in the image of Pantocrator (Almighty).
7. Church of the Intercession on the Nerl
Bogolyubovo, Vladimir region, XII century
Church of the Intercession on the Nerl C K Leung / CC BY-NC-ND 2.0
Church of the Intercession on the Nerl C K Leung / CC BY-NC-ND 2.0
King David. Facade relief C K Leung / CC BY-NC-ND 2.0
Fragment of carving on the facade C K Leung / CC BY-NC-ND 2.0
Fragment of carving on the facade C K Leung / CC BY-NC-ND 2.0
Plan of the Church of the Intercession on the Nerl kannelura.info
In the 12th century, many wonderful churches were built on the territory of the Vladimir-Suzdal Principality. However, it was this relatively small church that became almost the universal symbol of Russian Orthodoxy.
From the point of view of the architect of the Middle Ages, there was nothing special about it structurally; it was an ordinary four-pillar temple with a cross-domed roof. Except that the choice of construction site - on the water meadows, where the Klyazma and Nerl merged - forced the use of an unusually large amount of engineering work, filling up the hill and laying the foundations deep.
However, simple solutions led to the appearance of an absolutely wonderful image. The building turned out to be simple, but elegant, very slender and, accordingly, generating a whole complex of associations: Christian prayer flaming like a candle; the spirit ascending to the higher worlds; a soul communing with the Light. (In fact, the architects most likely did not strive for any accentuated harmony. Archaeological excavations have revealed the foundations of the gallery surrounding the temple. Historians are still arguing about what it looked like. The prevailing opinion is that it was an arched pylonade with a promenade now - a covered gallery - at the level of the second tier, where you can still see the door to the choir.)
The temple is white stone; in the Vladimir-Suzdal principality they preferred to abandon flat bricks () and build three-layer walls from smooth-hewn limestone slabs and backfill filled with lime mortar between them. The buildings, especially the unpainted ones, were striking in their radiant whiteness (in the Assumption Cathedral in Vladimir today you can see the remains of the fresco painting of the arcature-columnar belt; after the reconstruction at the end of the 12th century, it ended up in the interior, but was intended as a colored decoration of the facade).
Perhaps the temple owes its beauty to the fact that it used the achievements of both Eastern Christian and Western European architectural schools. In terms of type, this is, of course, a building that continues the Byzantine traditions of temple construction: a holistic volume with semicircles of zakomaras and a bar on top. However, architectural historians have virtually no doubt that the construction was carried out by architects from the West (the 18th-century historian Vasily Tatishchev even claimed that they were sent at the disposal of Andrei Bogolyubsky by the Holy Roman Emperor Frederick I Barbarossa).
The participation of Europeans affected the appearance of the building. It turned out to be plastically elaborate; here they abandoned the simplified approach, when the facades are just planes, edges of an indivisible volume. Complex profiles create the effect of layer-by-layer immersion into the thickness of the wall - first to the expressive sculptural reliefs, and then further into the space of the temple, into the perspective slopes of narrow loophole windows. Such artistic techniques, when vertical rods protruding stepwise forward - - become the background for full-fledged three-quarter columns, quite worthy of their ancient prototypes, are characteristic of the works Romanesque style. The delightful masks, muzzles and chimeras that took on the weight of the arcature-columnar belt also would not have seemed alien somewhere on the banks of the Rhine.
Obviously, local craftsmen diligently adopted foreign experience. As stated in the chronicle “The Chronicler of Vladimir” (XVI century), for the construction of the next, large and stylistically similar Church of the Intercession on the Nerli, the construction of the Demetrius Cathedral in Vladimir, “they no longer looked for German craftsmen.”
8. St. Basil's Cathedral (Cathedral of the Intercession of the Blessed Virgin Mary, on the Moat)
Moscow, XVI century
Ana Paula Hirama / CC BY-SA 2.0
St. Basil's Cathedral, Moscow Bradjward / CC BY-NC 2.0
Painting on the walls of the cathedral Jack / CC BY-NC-ND 2.0
The Virgin and Child. Fragment of the cathedral painting Olga Pavlovsky / CC BY 2.0
Iconostasis of one of the altars Jack / CC BY-NC-ND 2.0
Fragment of the cathedral painting Olga Pavlovsky / CC BY 2.0
Cathedral plan Wikimedia Commons
Perhaps this is the most recognizable symbol of Russia. In any country, on any continent, his image can be used as a universal sign of everything Russian. And yet, in the history of Russian architecture there is no more mysterious building. It would seem that everything is known about him. And the fact that it was built by order of Ivan the Terrible in honor of the conquest of the Kazan Khanate. And the fact that construction took place in 1555-1561. And the fact that, according to the “Tale of the Holy Miracle-Working Velikoretsk Icon of St. Nicholas the Wonderworker about the Miracles from the Images of St. Jonah the Metropolitan and Reverend Father Alexander of Svir the Wonderworker” and the “Piskarevsky Chronicler”, it was built by Russian architects Postnik and Barma. And yet it is completely unclear why this building appeared, which was unlike anything built in Rus' before.
As you know, this is not a single temple, but nine separate churches and, accordingly, nine altars established on a common basis (later there were even more of them). Most of them are votive. Before the important battles of the Kazan campaign, the tsar turned to the saint whom the church honored on that day, and promised him, in case of victory, to build a temple where the helper saint would be venerated.
Although the temple is Orthodox, in some ways it is close to its Renaissance brethren from the Catholic world. First of all, in terms of plan, this is an ideal (with a small reservation) centric composition - such as was proposed by Antonio Filarete, Sebastiano Serlio and other outstanding theorists of Italian Renaissance architecture. True, the direction of the composition towards the sky and many decorative details - sharp “tongs”, for example - make it more closely related to South European Gothic.
However, the main thing is different. The building is decorated as never before in Moscow lands. It is also multi-colored: polychrome ceramic inserts have been added to the combination of red brick and white carving. And it is equipped with metal parts with gilding - forged spirals along the edges of the tent with freely suspended metal rings between them. And it was made up of many bizarre shapes, applied so often that there was almost no simple surface of the wall left. And all this beauty is primarily directed outward. It’s like a “church in reverse”; many people shouldn’t gather under its arches. But the space around it becomes a temple. As if at a minimum, Red Square acquired sacred status. Now she has become a temple, and the cathedral itself is her altar. Moreover, it can be assumed that, according to the plan of Ivan IV, the entire country was to become a sacred territory - the “Holy Russian Empire,” in the words of Tsar Kurbsky, who was then still part of the inner circle.
This was an important turn. While remaining faithful to Orthodoxy, Tsar Ivan saw it in a new way. In some ways this is close to the Renaissance aspirations of the Western world. Now it was necessary not to ignore the vanity of mortal reality in the hope of a happy existence after the end of time, but to respect the Creation given here and now, to strive to bring it to harmony and cleanse it from the filth of sin. In principle, the Kazan campaign was perceived by contemporaries not simply as an expansion of the territory of the state and the subjugation of previously hostile rulers. This was the victory of Orthodoxy and the bringing of the sacredness of the teachings of Christ to the lands of the Golden Horde.
The temple - unusually ornate (although initially crowned with more modest domes), symmetrical in plan, but triumphantly reaching towards the sky, not hidden behind the walls of the Kremlin, but placed in a place where people always crowd - became a kind of appeal from the Tsar to to his subjects, the visual image of that Orthodox Rus', which he would like to create and in the name of which he later shed so much blood.
Guilhem Vellut / CC BY 2.0Consecration of the Alexander Nevsky Church in Paris. Illustration from the collection “Russian art sheet”. 1861 Metropolitan Museum of Art
Some churches, in addition to regular services, carry out a special mission - to worthily represent Orthodoxy in a different denominational environment. It was for this purpose that in 1856 the question of rebuilding the embassy church in Paris, previously located in the building of a former stable, was raised. Having overcome administrative difficulties and received permission from the French government (the war in Crimea, after all), construction of the building began in 1858 and was completed in 1861. It is clear that he had to become very Russian and Orthodox in spirit. However, architects Roman Kuzmin and Ivan Shtrom began designing even before the usual canons of manner a la Russe had been developed. It is rather eclecticism in the full sense of the word, a mixture of styles and national traditions- however, successfully fused into a single work.
In the interior there is an obvious reference to Byzantine traditions: the central volume is adjacent to mosaics covered with gold backgrounds (halves of dome ceilings), as, for example, in the Church of St. Sophia of Constantinople. True, there are not two of them, but four - a solution proposed by the Turkish builder Mimar Sinan. The plan of the building is given the shape of an equal-pointed Greek cross, whose arms are rounded on all sides thanks to the apses. Externally, the composition rather refers to the temple architecture of the times of Ivan the Terrible, when the building was composed of separate aisles-pillars, and central part received a tent-like completion. At the same time, the building should not seem foreign to Parisians either: clear faceted forms, masonry made from local material, which is not entirely fair to call squirrel-stone, and, most importantly, the three-lobed outlines of the Gothic windows made the building completely at home in the capital of France .
In general, the architects managed to fuse the motley variety of styles into a single image, closest to the festive “pattern” of the 17th century, from the time of Alexei Mikhailovich.
On August 30 (September 11), 1861, in the presence of numerous guests, the building was consecrated. “Let’s say that this time the Parisians, especially the English and Italians, were unusually struck by the external, ritual form of Eastern worship, filled with greatness.<…>Everyone - Catholics and Protestants alike - seemed keenly touched by the grandeur of the Eastern rite, its ancient character, which inspires reverence. It was felt that this was truly a first-century Divine Service, the Divine Service of the Apostolic Men, and an involuntary disposition was born to love and honor the Church, which preserved this Divine Service with such respect” - this is how contemporaries perceived this event Barsukov N.P. Life and works of M.P. Pogodin. St. Petersburg, 1888-1906.
Fragment of carving on the facade© RIA Novosti
This is a small family church in the estate of the famous entrepreneur Savva Mamontov. And yet, in the history of Russian culture and Russian temple architecture, it occupies a special place. Having conceived the construction, the participants of the famous Abramtsevo circle Abramtsevo art (Mamontovsky) circle(1878-1893) - an artistic association that included artists (Antokolsky, Serov, Korovin, Repin, Vasnetsov, Vrubel, Polenov, Nesterov, etc.), musicians, theater workers. they sought to embody in this work the very spirit of Russian Orthodoxy, its ideal image. The sketch of the temple was created by the artist Viktor Vasnetsov and realized by the architect Pavel Samarin. Polenov, Repin, Vrubel, Antokolsky, as well as members of the Mamontov family, including its head, a successful amateur sculptor, took part in the work on the decoration.
Although the construction was undertaken for a very practical purpose - to build a church where residents of the surrounding villages could come - the main artistic task of this enterprise was the search for means of expressing the origins and specifics of Russian religiosity. “The rise in energy and artistic creativity was extraordinary: everyone worked tirelessly, competitively, selflessly. It seemed that the artistic impulse of creativity of the Middle Ages and the Renaissance was again in full swing. But back then, cities, entire regions, countries, peoples lived with this impulse, but we only have Abramtsev, a small artistic friendly family and circle. But what's the problem? “I breathed deeply in this creative atmosphere,” wrote Natalya Polenova, the artist’s wife, in her memoirs N.V. Polenova. Abramtsevo. Memories. M., 2013..
In fact, the architectural solutions here are quite simple. This is a brick pillarless temple with a light drum. The main cube-shaped volume is laid out dryly, it has smooth walls and clear corners. However, the use of inclined (retaining walls), their complex shape, when the crowning, flatter part hangs like a tooth over the steep main one, gave the building an ancient, archaic appearance. Together with the characteristic belfry above the entrance and the lowered drum, this technique gives rise to strong associations with the architecture of ancient Pskov. Obviously, there, far from the bustle of metropolitan life, the initiators of the construction hoped to find the roots of the original Orthodox Slavic architecture, not spoiled by the dryness of the stylization solutions of the Russian style. The architecture of this temple was a remarkable anticipation of a new artistic direction. At the end of the century it came to Russia (analogous to European Art Nouveau, Art Nouveau and Secession). Among its variants was the so-called neo-Russian style, features of which can already be seen in Abramtsevo.
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