Art of the period of formation of the Russian state. Painting of the period of formation of the Russian state

Almost no architectural monuments of this period have been preserved. Construction is now concentrated in two main areas: in the northwest (Novgorod and Pskov) and in Vladimir land (Moscow and Tver). Basically, these were small four-pillar one-domed temples without vestibules. They already show a departure from the cruciform composition of the pre-Mongolian model, an attraction to more classical cubic forms. These buildings are very harmonious, give the impression of a balanced pyramid (53, 54). The favorite building material was white stone (limestone) - a legacy of the Vladimir-Suzdal tradition. This is how the first stone buildings in the Moscow Kremlin are built (itself white stone Moscow Kremlin was built in the middle of the 14th century. under Dmitry Donskoy (55) ). The Kremlin was the oldest Moscow church - Cathedral of the Savior on Bor (56) built by 1330. The temple was destroyed in 1933. Another ancient building was Chudov Monastery (57), founded by Metropolitan Alexy in 1365, was located in the eastern part of the Kremlin territory; Church of the Nativity (59), Church of the Annunciation (60) - all this in the Kremlin.

In the traditions of Vladimir architecture, they were built at the beginning of the 15th century. Cathedrals of the Assumption on Gorodok (61) and in the Savvino-Storozhevsky monastery (62) near Zvenigorod, Trinity Church in the Trinity-Sergius Monastery (63) and Cathedral of the Andronikov Monastery in Moscow (64) .

New trends in Novgorod architecture most clearly affected the temples of the XIV century. - Fedor Stratilat on the Creek (65)(1361) and Spas on Ilyin (66a)(1374). In contrast to the harsh, heavy in form, devoid of any decorations, Novgorod churches of the 12th-13th centuries. these temples were light, elegant and solemn. This is a clear result of the influence of wooden architecture, which was characterized by the desire to create light, joyful, "patterned" structures.

Art of the period of formation of the Russian centralized state (Moscow Russia, mid-15th-17th centuries)

From the second half of the XIV century. Moscow became the universally recognized capital of the emerging Russian state. This time becomes a milestone in the development of Russian culture, separating periods of national humiliation and a new upsurge. A change in mood and attitude is noticeable in all types of art.

New sentiments find expression in hagiographic literature, always loved in Russia. About a wise ruler who pursued a policy of uniting Russia and strengthening princely power, merciless towards Western enemies, but maintaining peaceful relations with the Mongols-Tatars, tells "The Tale of the Life of Alexander Nevsky", for many centuries served as a model of hagiographic literature. Quite a different character "The Life of Sergius of Raqonezh", one of the main creators of the victory on the Kulikovo field. Its author was Epiphanius the Wise, and he not only described the life of Sergius, but assessed each of its episodes in terms of its spiritual significance. The author believed that it was impossible to convey all the greatness of the feat of the saint by ordinary literary devices, so he used sophisticated and refined verbal ornamentation.

The assertion of Moscow as the political and religious center of Russia stimulated the development of all types of artistic creativity in it, among which especially experienced many new trends Russian painting, especially icon painting and fresco. Innovations appeared primarily in the spatial solution of the background and the artist's keen interest in personality. So, on the icon of the beginning and middle of the XIV century. one can still clearly feel the timidity of the people, who are afraid to believe in themselves, do not trust the independent forces of their creativity. Looking at these icons, it seems that the icon painter does not yet dare to be Russian. The faces in them are oblong, Greek, the beards are short, non-Russian. Church architecture, which make up an inseparable whole with the icon, is also either Greek, or bearing the seal of a transitional stage between Russian and Greek. Church domes are still weakly pointed and have an almost round shape of a Greek dome; the Russian onion is still in the process of formation. Inside the temples, we also see the Greek upper galleries, which are unusual for the eye. No wonder the pinnacle of the art of this time was the work of Theophan the Greek, a foreigner who came to Russia.

In icons of the 15th and 16th centuries. immediately strikes complete revolution. They strongly everything is Russified- and the faces, and the architecture of churches, and even small purely everyday details. In icon painting, this was expressed in the appearance of a broad Russian face, often with a bushy beard, which replaced the Greek one. Moreover, not only Russian saints are written this way, but also prophets, apostles, even Christ. In the days of national humiliation, everything Russian was devalued, it seemed weak and unworthy. Everything sacred was foreign, Greek. But the feat of national revival was exalted both by the Russian temple and the Russian folk type, and even the Russian folk way of life. Previously, the Russian people knew Russia as a place of suffering and humiliation, now they perceived it in a halo of divine glory.

The idea of ​​catholicity embodied primarily in the Russian temple itself, which was understood as a unifying principle that should dominate the world. The universe itself must become the temple of God. This became the spiritual ideal that Russian people aspired to: from the poverty and poverty of everyday life, personified by the image of a snowy desert, to the wealth of otherworldly, spiritual life, the image of which was the golden domes of white-stone temples burning against the sky, the “bulbs” of Russian churches, embodying the idea of ​​prayer burning. So it appears Russian temple - giant candle reminding that the highest has not yet been achieved here on earth. And it will not be achieved until the internal conciliar unification of people is established, which must overcome the chaotic division and enmity of the world and humanity. That's why the main idea of ​​Russian religious art- catholic unity of the world of people and angels, as well as any living creature on earth.

The idea of ​​catholicity became the main one in icon painting of the 15th century. The coming world was presented to the icon painters as a temple of God, in which all people will unite and the God-man will finally defeat the beast-man. That is why the iconic characters are dominated by refined physicality, the denial of the flesh, and for the same reason icons are never painted from living people.

The expression of these ideas were the works of the brilliant Russian painter A. Rublev. Creation Andrei Rublev (1340/1350-1428)- the highest point in the development of ancient Russian art and one of the pinnacles of world art. At the heart of the work of Andrei Rublev lies a different, than that of Theophan the Greek, religious concept. It is devoid of the idea of ​​gloomy hopelessness and tragedy. This is a philosophy of goodness and beauty, harmony of the spiritual and material principles. In Christian teaching, Rublev, unlike Feofan, saw not the idea of ​​merciless punishment of a sinful person, but the idea of ​​love, forgiveness, mercy. And his Savior is not a formidable omnipotent and merciless judge, but a compassionate, loving and all-forgiving God (66 b). He is just and benevolent, he alone can reconcile the opposition of spirit and flesh, heavenly and earthly. His gaze does not frighten him, like the gaze of Feofanov's Pantocrator, but consoles him. Byzantine art did not know such a Christ.

Icon created by Rublev "Trinity" (67), written in memory of S. Radonezhsky, which most fully reveals his creative principles and painting techniques, belongs to the most outstanding works of world fine art.

The Trinity is one of the most complex Christian doctrines of the mind-incomprehensible unity of the “uncombined” hypostases of the triune God. Rublev in the symbolic images of the "Trinity" embodied the idea of ​​peace, harmony, unity, the essence of boundless Christian love. Bowl With calf's head on the table- a symbol of the atoning sacrifice of Christ. Three angels - this is the eternal advice about the sending of the Son by the Father to suffer in the name of the salvation of mankind. But although angels are one, they are not the same. Their silhouettes form a circle, which is achieved by a single rhythm, poses

The main monument of Andrei Rublev's creativity in the field of monumental painting are Frescoes in the Dormition Cathedral in Vladimir. He wrote them together with Daniil Cherny. Outwardly, his depiction of the Last Judgment scene seems quite traditional, but in terms of tone it seems to be a new phenomenon in world painting. Ancient Russian artists, as well as Byzantine and Western European ones, embodied in the Day of Judgment the idea of ​​retribution for human sins. And Rublev presents it as a day of spiritual consent of people united by a feeling of love. The most important feature of the frescoes of the Assumption Cathedral are Russian types, as opposed to the traditionally elongated Byzantine ones, as well as the artist's attraction to crowd scenes. (68-80) .

The period of the Mongol-Tatar invasion became the time of the emergence of another special phenomenon of artistic culture - the iconostasis, which was a purely Russian invention, since until now the altar in Russian, as well as in Byzantine churches, was separated from the hallways only by a low barrier. Andrey Rublev was also one of the creators of the iconostasis. (81).

The iconostasis, like the temple, is an image of the church. But if the temple is a space that contains believers and symbolically the entire universe, then the iconostasis is part of the interior decoration of the temple, which tells about the formation of the church from Adam to the Last Judgment. In its formed, classical form, the iconostasis consists of five main rows (ranks) (82) , forming a high wall separating the altar from the rest of the church. In the center of the iconostasis - royal doors leading to the altar. Bottom row - local, with icons that are especially revered in the area, including the temple icon, in honor of which the church was erected (it is placed second to the right of the royal doors). The second is deesis, in the center of which was depicted the Savior sitting on a throne, on the sides - the Mother of God and John the Baptist standing in a prayerful pose, behind them - icons of the archangels, apostles and saints. Walked above holiday rank depicting the twelfth feasts (the most important in the church calendar) starting with the Annunciation and ending with the Assumption of the Virgin. In the fourth row there were icons of the prophetic rank, in the center of which was the Mother of God with the baby, and on either side of her were the Old Testament prophets Ilya, Moses, Isaiah, and others. forefather rank, in the center of which was the New Testament Trinity, and on the sides - images of the biblical forefathers. This rank appeared in the iconostasis somewhat later, from the 16th century. crowned iconostasis crucifixion (83) . In the sixth, additional row (84) the Passion of Christ, the Cathedral of All Saints could be depicted.

The time of Andrei Rublev, the "golden age of Russian icon painting", in domestic art history causes, and still, in fact, an unfinished discussion about whether there was a Renaissance. Without going into details, we note that some researchers saw him precisely in the "era of Rublev" and his followers, i.e. in the 15th - first half of the 16th century, and in this context it was justified to compare the works of Andrei Rublev and Fra Beato Angelico by M. V. Alpatov. Others called the "Russian Renaissance" of the 17th century, considering the 15th century as a "pre-revival", corresponding to the Italian proto-renaissance. But the most fair, in our opinion, is the opinion that the Renaissance did not take place on Russian soil, although, undoubtedly, there was a "pre-Renaissance" period, and it was interrupted in the middle of the 16th century under Ivan the Terrible. As you know, the functions of the Renaissance were taken over by the "Russian baroque" of the late 17th - 18th centuries, about which academician D. V. Sarabyov wrote beautifully in his time.

Undoubtedly, the 15th century is a very important period for domestic art. In the last quarter of the fifteenth century process ends formation of the Russian centralized state. Ivan III (1440–1505; Grand Duke of Moscow from 1462), who received power not from the hands of the khan, is the first "autocrat", "sovereign of all Russia", in whose coat of arms a double-headed eagle flaunts, and on his head is a Monomakh's hat. In the ceremonial of the court, in the entire entourage of power, the continuity of Byzantine imperial traditions is emphasized. Moscow becomes the capital of a powerful state, in which the main support of the sovereign is the boyars. Moscow is also becoming the main cultural center, which absorbed and continues to develop the traditions of the art of the Russian principalities. The most remarkable works from different lands are brought to Moscow. Russian masters work here side by side with invited foreign architects. It is not the art of individual schools that is developing, as was the case in the previous period, but the art nationwide. Moscow in this period is the stronghold of Russian Orthodoxy, the "Third Rome", which also could not but be reflected in the fate of art. However, starting from the 16th century, under Ivan the Terrible (1530–1584; Grand Duke of Moscow from 1533, the first Russian Tsar from 1547), art was increasingly subordinated to the interests of the state, and regulation was more and more clearly observed in it. So, "Stoglav", a collection of decisions of the Church-Zemsky Stoglavy Cathedral of 1551, canonized many iconographic schemes and compositions and, naturally, limited the artist, "fettered" his creative soul.

Architecture

Under Ivan III, the Kremlin is being actively rebuilt. The fortress of Dmitry Donskoy no longer corresponded to the ideas of either defensive architecture or the residence of the great sovereign. In 1485–1496 The Kremlin, in essence, was rebuilt while maintaining the plan of the old fortress. The new Kremlin with red-brick walls more than 2 km long and 18 towers, decorated with two-horned battlements (instead of the former rectangular ones), with loopholes and battle passages, was not only a formidable fortress, but also a beautiful architectural ensemble, inscribed in the whimsical landscape of Moscow. Not only the walls of the Kremlin were renovated, but also its temples, erected on the site of old, dilapidated churches from the time of Ivan Kalita: the Cathedral of the Assumption, built by the Pskovites (1326–1327), the Church of St. ), the Church of the Transfiguration of the Savior on the forest (1329–1330), the Archangel Cathedral (1333), the Church of the Nativity of the Virgin (1393), the Cathedral of the Annunciation (1397). Considering themselves the direct heirs of the Vladimir princes, the Moscow sovereigns emphasized this connection in every possible way in works of art. For example, an architect invited from Bologna Aristotle Fioravanti(1415/1420 - c. I486) it was ordered to build the main Assumption Cathedral of the Moscow Kremlin on the model of the Vladimir Assumption Church of the 12th century, for which the Italian architect traveled to Vladimir. So with Fioravanti begins the path of the Italian (“Fryazhsky”, as all foreign masters were then called in Russia, as in the 12th century foreign masters were written about in the annals “from the Germans”) through subsequent centuries up to St. Petersburg of the 18th–19th centuries.

The Moscow Assumption Cathedral, indeed, has retained much of the Vladimir architecture: stone temple It has an elongated plan, a five-domed ending, an arcade-columnar belt along the facade, perspective portals and slit-like windows, and a blackout coating. Having preserved the iconography of the temple familiar to Russian people, having understood the beauty of ancient Russian forms, Fioravanti rethought them creatively, as a highly experienced architect of the Italian Renaissance, and this was reflected in the replacement of the duct vaults with cross ones, in the equal width of all facades and the same the middle one is somewhat pushed forward), in the general geometric correctness of the elements of the structure, the porch open with a canopy with west side. But the most significant difference was the solution of the internal space: there are no choirs in it, and this gives the temple a secular, hall character, it is not without reason that the annals say that the cathedral was built in a "ward way". “But that church was wonderful in great majesty, and height, and lordship, and ringing, and space, such as it had never happened before in Russia, polling the Vladimir churches.” The Assumption Cathedral was erected in 1475–1479.

In 1505–1508 Another Kremlin Cathedral was built - Arkhangelsk , and also an Italian (Venetian) architect Aleviz Novy (full name Aleviso Lamberti da Montagnano). The external appearance of the building differs sharply from the usual ancient Russian churches; it is decorated like a two-story palazzo in the spirit of the Renaissance (Venetian) order architecture. Separated from the walls by a complex entablature, the zakomaras are filled with magnificent carved shells. But the strengthening of secular tendencies mainly affected the decor, while the general constructive solution was the same: it is a typical six-pillar temple with a vestibule. The severity of its interior is enhanced by its purpose: the temple served as the tomb of the great princes.

Between the Assumption and Archangel Cathedrals by an Italian architect Bon Fryazin a bell tower was erected, better known as pillar of Ivan the Great (1505–1508; the two upper tiers were built on in 1600, in Godunov’s time): a long-familiar type of bell tower in Russia made of octagonal bell towers placed one on top of the other with arches-openings for bells, with volumes, as if naturally growing one from the other. The pillar of Ivan the Great is the dominant feature of old Moscow to this day.

Church of the Deposition of the Robe (1484–1486) and Blagoveshchensky cathedral (1484–1489) were built by Russian (Pskov) craftsmen. At first, the Church of the Annunciation was three-domed, with open galleries on a high basement, which the Pskov builders loved so much. But already under Ivan the Terrible, there were nine chapters, and the galleries were blocked and four aisles appeared. The Annunciation Cathedral was the house church of the prince and his family and was connected with the palace by passages: hence its small size and cramped interior, which allowed M. V. Alpatov to correlate the Assumption Cathedral with the Annunciation Cathedral, like the Parthenon with the Erechtheion.

From the "civil" architecture, from the ensemble of the Grand Duke's Palace, Faceted Chamber, built in 1487-1491. Mark Fryazin(Ruffo) from Venice and Pietro Antonio Solari from Milan. And here, as in the Archangel Cathedral, the Renaissance features were reflected only in the decor: the chamber got its name because of the facing of the facade with faceted stone. Inside, on the second floor, the main, front hall (area 500 sq. m., height 9 m) is covered with cross vaults resting on a pillar standing in the center: similar to monastic refectories, long known in Russia. The beneficial interaction of ancient Russian and Italian architecture is beautifully expressed in poetic lines:

And the five-domed Moscow cathedrals

With their Italian and Russian soul

Reminds me of the Aurora apparition,

But with a Russian name and in a fur coat.

Starting from 1485, the walls and towers of the Kremlin were rebuilt: first Taynitskaya, with an underground passage to the river; then Beklemishevskaya (architects Pietro Solari, Marco Ruffo). In the 17th century brick tents were erected over the towers.

The Moscow Kremlin became a model for many fortresses built in the 16th century (in Veliky and Nizhny Novgorod, Tula, Kolomna; during the same period, the fortresses Oreshek, Ladoga, Koporye were rebuilt, the Ivan-gorod fortress was founded, etc.), and its temples - for places of worship throughout Russia. Many churches of the 16th century were built according to the type of the Assumption Cathedral: Saint Sophia Cathedral in Vologda, the Smolensky Cathedral of the Novodevichy Convent in Moscow, the Assumption Cathedral of the Trinity-Sergius Monastery, etc. The use of iron ties instead of wooden ones, the use of lifting mechanisms from the end of the 15th century expanded the possibilities of architects. Moscow architecture at the turn of the 15th-16th centuries undoubtedly became an all-Russian phenomenon.

One of the most interesting pages in the history of ancient Russian architecture was hip architecture XVI century. Temples topped with a tent have long been known in Russian wooden architecture, both ecclesiastical and secular (the design of the tent top was called “for wooden work”). One of the first and most magnificent brick monuments of tent architecture - Church of the Ascension in the village of Kolomenskoye (1530–1532; see color insert) was built by Vasily III in honor of the birth of his son, the future Tsar Ivan the Terrible. The Kolomna Church, standing on a high hill near the Moskva River, is, at first glance, a single vertical, one continuous vertical volume, rising up to 60 m: a red-brick tower with a white-stone, like pearls, “lower” along the surface of a 28-meter a tent, a kind of giant canopy - a cover over Russia. In fact, this entire vertical consists of several volumes: on the basement there is a high quadrangle, its volume is simple, but the vestibules protruding from all sides give it a complex groin shape; an octagon is placed on the quadrangle, the transition to which is very smooth due to the triple row of keeled decorative kokoshniks; further, the forms calmly pass into a tent with a small cupola and a cross. Somewhat later, galleries and stairways were added at the level of the basement, as if echoing the uneven lines of the hill on which the temple stands, which creates an almost tangible connection with nature.

In the Kolomna Church, its rapid upward movement, its small interior compared to ordinary churches, everything sharply breaks with the usual forms of a five-domed cross-domed church. Rather, it is a monument-monument in honor of a certain event, and the main expressive power of its artistic image is assigned precisely to the exterior. In the details of the building, the anonymous master of genius used both the motifs of Italian Renaissance architecture and truly Russian artistic techniques of wooden architecture, and this close, deep connection with the original folk traditions made the Kolomna monument a role model for many years. There is an assumption that this brilliant architect was Petrok Maly(Pyotr Fryazin), who had just arrived in Moscow from Italy in 1528. "Italianisms" in the decor do not obscure the domestic tradition in the design. After all, pyramidality is a truly Russian phenomenon, it can be traced back to the pre-Mongol times (in Chernigov churches of the 12th century, in Novgorod in the 14th century, in the Novgorod Khutyn Church of Gregory of Armenia, erected in the 15th century, etc.). Opposite the Church of the Ascension, in the village of Dyakovo, in 1553-1554. Ivan the Terrible (another date of construction - 1547 - the year of the wedding of Ivan IV to the kingdom) was built Church of the Beheading of John the Baptist (see color insert). This is another type of temple of the XVI century. - pillar-like. The volume of the Church of John the Baptist consists of five octagonal pillars connected by porches; the middle - the largest - ends with a powerful drum. The complex shape of the triangular kokoshniks organizing the transition to the chapters; unusual decoration of the central drum with semi-cylinders; all the bright architectural decor, built on an unusually complex play of forms, testifies to the impact of wooden architecture.

Churches in Kolomenskoye and Dyakovo are the direct predecessors of the famous Cathedral of the Intercession on the Moat, known more in history as St. Basil's Cathedral (one of the chapels was dedicated to this saint), erected on Red Square in Moscow in 1555–1561. two Russian "stone craftsmen" Barma and Postnik. The temple was founded in memory of the capture of Kazan by the troops of Ivan the Terrible, which took place on the day of the Feast of the Intercession. The architectural ensemble of St. Basil's Cathedral consists of nine volumes, of which the central one, crowned with a tent, is dedicated to the feast of the Intercession of the Virgin, and eight other volumes, as if independent pillar-shaped churches adjacent to the central one, are located around this main church along the axes and diagonals. The protruding central apse, various stair shoots, different heights of the pillars themselves, diverse aisles, majestic kokoshniks, the very combination of red brick with white stone details, the overall pictorial asymmetry of the composition - all the fabulous richness of the forms of St. Basil's Cathedral was born by the skillful hands of skillful "woodworkers" to creatively use centuries of experience in new building materials.

The Cathedral of Barma and Postnik is a monument of Russian glory, a monument in honor of the soldiers who died near Kazan. The secular principle in it, of course, does not prevail over the cult, but it is clearly expressed, it was not for nothing that foreigners noticed that the temple "was built more as if for decoration than for prayer." The onion domes of the cathedral appeared at the end of the 16th century, and the multi-colored painting of the temple that has survived to this day was made in the 17th-18th centuries. In the 16th century, there was only colored majolica lining of the central tent, while the general decorative solution was based, as already mentioned, on a combination of white stone details with a red-brick wall surface.

Tent temples, like the Ascension in Kolomenskoye, are unusually spectacular and festive. Erected in honor of some significant (we note, secular, like the birth of a future crown-bearer, or a wedding to the kingdom, or military victory) events, they were, moreover, small in their interiors. Perhaps this can explain why the main type of temple remains the cross-domed, consecrated by centuries-old traditions, although the love for hipped architecture passes through the following centuries and finds expression mainly in the top of the bell towers.

The cross-domed churches of the 16th century, emphatically massive, huge in size, reflect both the power of autocratic power and, most importantly, the strength of the church (St. Sophia Cathedral in Vologda, the Assumption Cathedral in the Trinity-Sergius Lavra). In the Godunov period, temples were built, various in design: five-domed ( church in the village of Vyazemy, residences of Boris Godunov; 1598–1599), pillarless ( church in the village of Khoroshevo; until 1598), even hipped roofs ( Church of Boris and Gleb in Borisov town near Mozhaisk, 74 m high; 1603). To guide state construction in 1583, a Order of stone affairs, uniting all those involved in the construction: from architects to ordinary masons - and playing a big role in solving urban problems and building military engineering structures. Under the direct leadership and forces of the Order, the walls also rise White City in Moscow (1585–1593; Kitay-gorod was erected in the 1530s by the architect Petrok Maly) and the famous Smolensk Kremlin (1595–1602): both fortresses were built by the "city master" Fedor Savelievich Horse.

In general, the 16th century can be called the heyday of fortress architecture, which is associated with the emergence of new means of combat. These are regular, geometrically correct fortifications (from late Latin fortificatio - strengthening). Their powerful walls are cut through with loopholes for "upper" and "bottom" combat; artillery pieces are placed in the towers. The fortress to a large extent determines the layout of the city: settlements, settlements under its walls are reinforced with wooden "stockades". Monasteries, similar to fortresses, were important defensive strongholds both in Moscow itself (Novodevichy, Simonov Monastery), and on the near approaches to it (Trinity-Sergius). Powerful monasteries-fortresses were also built far to the north (Kirillo-Belozersky, Solovetsky).

MHK (grade 10)

Lecture for Chapter 18 "The Art of the Unified Russian State"

1. Art of the state formation period,

2. Art of the period of statehood establishment

3. Art of Russia on the threshold of the New Age

By the endXVcentury (the reign of IvanIII1462-1505), Russian lands were freed from Horde dependence and united into a single state.

Architecture

Unification of all Russian landsand the emergence of a single all-Russian state led to shirokuyu construction activity.Particular attention was paidMoscow. were brought herecraftsmen from Pskov, Vladimir, andalso, the best foreign architects began to be invited to Moscow lands.Turning to foreignearthly architects, the Grand Duke wanted to use the achievements forWestern European Engineeringart. But at the core of everythingsamble of the Kremlin walls and towers -traditions of the original Russian architectstva.

Giacomo Quarenghi. View of the Cathedral Square of the Moscow Kremlin. 1797. Hermitage

ArchitecturalEnsemble of the Cathedral Square of the Moscow Kremlin developed at the turn of the XV-XVI centuries. Today it is a unique monument of national history and culture of the time when the unified Russian state was created.

The layout of the square took shape in the 14th century, when the first Assumption Cathedral, the Archangel Cathedral, the Church of St. John of the Ladder under the bells were built, which have not survived to this day. Later, the first Cathedral of the Annunciation, adjoining the Grand Duke's palace, appeared, and in the middle of the 15th century, the Rizopolozhenskaya Church.The current appearance of the square was formed in the late XV - early . The restructuring of the Kremlin begins with the participation of Italian masters.

Pillar of Ivan the Great plays a big role in shaping the silhouette of the Moscow Kremlin.Ivan Kalita erected a church in honor of St. John of the Ladder, whom he considered his patron, on the highest point of Borovitsky Hill. The church had the shape of a pillar, above it was a bell tower. Under Ivan III, when the entire Kremlin was being rebuilt, this church was also rebuilt. The new church was built by the architect Bon Fryazin in a little over three years (1505-1509). It consisted of three octagonal buildings placed one on top of the other, with the lower octagonal being the rebuilt Church of St. John of the Ladder.

The architectural appearance of each building is largely determined by its purpose and role in this ensemble.

Assumption Cathedral - the first hall-type temple in Russia with cross vaults was erected thanks to the activities of the Italian architect Aristotle Fioravanti. The cathedral was ordered to be built on the model of the Assumption Cathedral in Vladimir, but not wanting to copy, the Italian architect managed to bring a lot of new things to its construction. The novelty consisted in the strict division of the rectangular plan into 12 equal squares, which had not been done before in medieval Russia. The Assumption Cathedral hosted the coronations of Russian tsars and emperors.

In the 16th century, under Ivan the Terrible,Blagoveshchensky cathedral became the royal temple.

Opposite the Cathedral of the Annunciation is locatedCathedral of the Archangel Michael. It was erected in 1505-1508 on the site of a 14th-century temple by the Italian architect Aleviz Novy. The Archangel Cathedral served as the tomb of the kings.

ATFaceted Chamber foreign ambassadors were received, zemstvo councils were held.Built in 1487 - 1491 by decree of Ivan III by architects Marco Ruffo and Pietro Antonio Solari. It got its name from the eastern facade, finished with faceted "diamond" rustication, characteristic of Italian Renaissance architecture.The red porch of the Faceted Chamber was demolished in 1930 by order of Stalin, and restored in 1994.

The most complete and deep architextural and artistic ideasXVIcenturies unfolded in one of the mostwonderful creations of Russian architects - the Cathedral of the Intercession "on the moat", orBasil's Cathedral , erected by Barma and Posnikin 1555-1560. Basil's CathedralBlessed, built in honorcapture by Ivan's troopsIVcapital of the Kazan Khanate, became a symbolthe final victory of the Russiankind over the Tatars.

The original find of ancient Russian architecture was the type of stone hipped temple, which became widespread in the 16th century. The most remarkable building of this type wasChurch of the Ascension , erected on the high bank of the Moscow River in the village of Kolomenskoye near Moscow (now the city limits of Moscow).

monumental painting.

Just like architecture,positive art of the second pologuiltXVcentury is experiencing greatclimb.The main direction in paintinggrand ducal Moscow wascreativity of Dionysius (c. 1440-1503) and his school.For the first time the name of Dionysius is mentionedin connection with the painting of the Church of the Nativity of the Virgin in Pafnutev-BoRovsky monastery along with the namemaster Mitrofan.

Temple complex of the Ferapontov Monastery

The Ferapontov Monastery was founded in 1398 by St. Ferapont.This relatively small monastery in the Vologda region is well known not only to Russian people, but also abroad. Here, for five centuries, marvelous frescoes of Dionysius have delighted the soul and delighted the eye.

Cathedral of the Nativity of Our Lady of the Ferapontov Monastery

The frescoes of Dionysius in the Ferapontov Monastery are the only monument in Russia with a complete cycle of murals preserved in their original form from the half-thousand-year period of Russian medieval culture of the 11th-15th centuries.

In the most prominent places of the temple are presented

"Protection of the Mother of God", fresco of the eastern wall. “Rejoices in You”, fresco of the Ferapontov Monastery.

Frescoes of Dionysius. Ferapontov Monastery, 1502

Russian art on the threshold of a new era

XVII century - the era of a sharp turning point in national history. The struggle for the Russian throne, peasant uprisings, a church schism that divided not only society, but also the Orthodox Church. Numerous treatises on visual arts and music were created at this time. Parsuns appeared in painting (from the word "person") - the harbingers of the portrait.

In architecture, the question of the canonicity of religious architecture was actively discussed. During the construction of temples, the decree of the patriarch prescribed to strictly observe the law of the “consecrated five-domed”, a triple altar with semicircular apses. Absida (from the Greek hapsís, genus p. hapsídos - vault), the ledge of a building, semicircular, faceted or rectangular in plan, covered with a semi-dome or closed semi-vault. Apses appeared in ancient Roman basilicas. In Christian churches, the apse is the altar ledge.

In 1652, Patriarch Nikon forbade the construction of single-tent churches that did not meet these requirements.

A new page in architectureXVII in. opened the constructionTerem Palace in the Moscow Kremlin , which has a stepped-tiered structure.

Church of the Holy Life-Giving Trinity in Nikitniki (Church of the Georgian Icon of the Mother of God on Varvarka) - the standard of Moscow patterning in the middle of the 17th century. This building is a milestone in the history of Russian architecture; it served as a model for many Moscow churches of the second half of the 17th century. Back in the 16th century, there was a wooden church in the name of the holy martyr Nikita. In the 1620s, it burned down and, by order of the Yaroslavl merchant Grigory Nikitnikov, who lived nearby, a new stone church was built in 1628-1651.

By the end of the 17th century, new qualitative changes were taking place in architecture. Architecture playing the role of a synthesizing beginning for various kinds arts, forms a single ensemble of them. A type of dynamic cult building "an octagon on a quadrangle" is being formed. who gave the nameNaryshkin style (by the name of the Naryshkins - relatives of Tsar Peter 1 on the mother's side).

The most perfect monument of this period isChurch of the Intercession in Fili , erected near the Moscow River. The building belongs to the type of tiered centric churches widespread at the end of the 17th century, an example of the early Moscow baroque.

In parallel with stone architecture, wooden architecture continued to develop. An outstanding work of wooden architecture was known to us from drawings and models.Palace of Tsar Alexei Mikhailovich in Kolomenskoye.

The Palace of Tsar Alexei Mikhailovich is a wooden royal palace built in the village of Kolomenskoye near Moscow in the second half of the 17th century. It was a very complex system of separate wooden rooms (cages) connected by passages. With its rich exotic decor, it invariably aroused admiration among foreigners who saw it. Demolished later than 1767, "recreated" according to the surviving layout in 2010 at the address: Moscow, 2nd Dyakovo Gorodishe Street, 27.

The current building is a life-size model of the Palace of Alexei Mikhailovich. The construction was carried out according to the drawings made at the behest of Catherine II. However, the new building is not completely wooden: all structures are monolithic, reinforced concrete, then covered with logs. Orientation relative to the cardinal points is also not preserved - the layout was rotated around the vertical axis by 90 degrees, which completely violated the sacred meaning of the original building.

In the north, wooden architecture is rightfully considered the pinnacle of folk architecture.

Museum of wooden architecture in the open air. Excursions are organized to the Kizhi Museum. The Kizhi Museum is located 68 km from the city of Petrozavodsk, the capital of the Republic of Karelia. The total territory of the museum has more than ten thousand hectares. It includes the island of Kizhi, neighboring islands, as well as a section of the mainland coast. In addition to the monuments that make up the main exposition, there are several ancient villages on the territory of the Kizhi Museum, valuable natural objects and archeological sites. The most valuable, interesting and typical wooden buildings from all over Karelia were transported to Kizhi Island - the oldest religious building in the Russian North -Church of the Resurrection of Lazarus (XIV century). The collection of architectural monuments collected in the Kizhi Museum includes 76 buildings.

Small Korely - State Museum of Wooden Architecture and folk art northern regions Russia.

The open-air museum is located in the Arkhangelsk region on the right bank of the Northern Dvina (at the confluence of the Karelka River)

Qualitative changes also took place in the visual arts of the 17th century. In the transitional era, talented artists were destined to create: Simon Ushakov (1626-1686), Gury Nikitin (c. 1620/1625-1691) and Fyodor Zubov (1615-1689).

Ushakov (Simon or Pimen Fedorovich, 1626 - 1686) - the famous Moscow icon painter. He created icons for the Trinity Church in Nikitniki, under his leadership they carried out murals in the Archangel and Assumption Cathedrals and the Faceted Chamber of the Moscow Kremlin. One of the most significant works of the master is an icon"Planting the Tree of the Russian State" with a lifetime image of Tsar Alexei Mikhailovich and his family.

It was at this time that parsunas appeared - the forerunners of the portrait genre in the visual arts. The first parsuns served as tomb images (for example, the governors of Prince M.V. Skopin-Shuisky and Tsar Fyodor Ioannovich).

Fedor I Ioannovich , also known by the name , the last representative of the Moscow branch of the Rurik dynasty.

Governor of the prince

M.V. Skopin-Shuisky

"Eight on a quadrangle" - a popular constructive type of building in Russian church architecture both stone and wood. At the same time, the lower part is a cubic volume (in wooden architecture - a log house), and the upper part is an octahedron placed on it (a log house "with beveled corners"). Above, one or two more octals can be located, with completion in the form of a tent or dome. In Russia, this type was especially widespread in the 17th and XVIII centuries(during the Baroque era).

In the second half of the 15th century, the economic and political strengthening of the Moscow principality continued. Moscow annexes the Yaroslavl, Rostov, Ryazan principalities, subordinates Novgorod, Pskov, the Tver principality, thus laying the foundation for the formation of a single Russian state. Freed in 1480 from Tatar-Mongol yoke, Russia in seventy years establishes dominion over the lands along the entire course of the Volga. Later, the expansion of the borders of Russia both to the east and to the west continues. At the same time, the socio-political system of governance is changing. The formed Russian state becomes centralized. The Moscow rulers are promoting the idea of ​​"Moscow - the third Rome" (the succession of the power of the Grand Duke of Moscow from the power of the Byzantine emperors), seeking to strengthen their power over the annexed territories. The centralization of management extends to all spheres of life, including art.

In Russian painting of the second half of the 15th century, there is a great upsurge. The reason for this was the need to strengthen the autocratic power of the Moscow princes, which required appropriate support, including in the visual arts. New demands are made on painting: regal splendor, solemn splendor. The church, which at that time was not separated from the state, was also interested in the regulation of fine arts. This is confirmed by the decisions of the Stoglavy Cathedral (1551). However, despite this, sharp moral and social problems penetrate deeper and deeper into painting.

The main direction that determined the painting of Moscow in the second half of the 15th century was the work of Dionysius and his school. Between 1467 and 1477, Dionysius and Mitrofan worked on the painting of the Church of the Nativity of the Virgin in the Pafnutiev-Borovsky Monastery. In 1481, according to sources that have come down, Dionysius, along with other masters - this is priest Timofey, Yarets and Konya - painted icons for the Assumption Cathedral in Moscow. In the 1480s, in the Joseph-Volokolamsk Monastery, together with his sons Theodosius and Vladimir, the elder Paisius and the nephews of the all-powerful Joseph Volotsky, Dositheus and Vassian, Dionysius created icons for the monastery's Assumption Cathedral. The last documented news about Dionysius refers to the years 1500-1502, when the master and his sons were painting the Church of the Nativity of the Virgin of the Ferapontov Monastery.

Frescoes in the Church of the Nativity of the Theotokos in the Ferapontov Monastery. Composition "Rejoicing About You"

most interesting work Dionysius, according to researchers, is the painting of the church of the Ferapontov Monastery. The frescoes of the temple are dedicated to the glorification of the Mother of God, in connection with this, a joyful emotional tone and festivity prevail in them. There is a group of compositions that make up " Ecumenical Councils”, which are characterized by restraint and rigor. The compositions “The Veil” and “Rejoices About You” have a similar emotional background, with their choral action and solemnity, although there is a festivity in them. These scenes, one might say, are opposed to compositions filled with lyricism, such as Akathist mother of god". Despite this, many of the scenes that make up the painting of the temple give the impression of internal unity. All compositions are proportionate, they are dominated by a smooth, calm rhythm. The figures of the characters are slender, graceful, full of nobility. The painting creates the impression that the viewer is transported into the world of sublime, ideal images. It can be said that in the painting of the church of the Ferapontov Monastery, the influence of Andrei Rublev's work on its authors can be traced. At the same time, fundamental differences are noticeable: Dionysius in his work pays more attention to the appearance of the characters. Their proportions are elongated, movements and gestures are smooth. Many of the characters are dressed in luxurious clothes adorned with jewels.

It should be noted that the frescoes of the Church of the Nativity of the Mother of God were created during the struggle of the Russian Orthodox Church with heretical teachings. Therefore, the frescoes are characterized by strict compliance with the canons of sacred images, deep symbolism of traditional subjects. Obviously, one of the tasks of the authors of the painting was to glorify the "true" church, that is, the Russian church at the turn of the 15th-16th centuries, and at the same time the greatness of the power of Ivan III. This confirms the presence of a group of compositions that make up the "Ecumenical Councils", as well as a large number of scenes with the image of the Mother of God. It was the image of the Mother of God in the minds of the people of that time that was the symbol of the “ideal church”. However, in matters of faith, Dionysius was not as orthodox as his famous contemporary Joseph Volotsky, an ardent opponent of heretics, the author of the famous "Epistle to the Icon Painter". The artist's work is filled with lofty feelings, benevolence towards the world around him, including the heretics depicted in the "Ecumenical Councils".

Scholars attribute the authorship of Dionysius to several excellent icons, the earliest of which is Hodegetria, painted in 1482 (TG). In it, the artist managed to create a solemn and strict image of the Mother of God. We also note the magnificent monumental hagiographic icons of Metropolitans Alexei and Peter. These icons are distinguished by the nobility of color, which is created by a combination of white, golden, soft red, pink, olive tones.

The work of Dionysius and his school became an important stage in the development of ancient Russian painting. Russian painting in the 16th century developed in the direction laid by him, although in many respects it lost its harmony, poetic power, and artistic perfection. At the same time, the new era also brought a lot of new things that corresponded to the goals and objectives of the time.

Among the works of artists of the 16th century, there are more works with historical subjects. A new genre appears - a kind of historical imaginary "portrait", where the specific features of a given individuality completely change the nature of the image compared to what it was before. In the visual arts, much more everyday details appear; in icons, murals, miniatures, the architectural and natural landscape becomes more and more detailed, although the landscape, as an independent genre, of course, did not yet exist. All these new trends can already be seen in the painting of the Annunciation Cathedral in Moscow (1508), on which an artel of painters worked under the direction of Theodosius, the son of Dionysius. Just like his father, Feodosy's compositions are harmonious, the figures are slender, expressive and characteristic, the colors are light and light. At the same time, significant differences between this painting and the frescoes of the Annunciation Cathedral of the Ferapontov Monastery are noticeable. An important place in the painting of the Annunciation Cathedral is occupied by apocalyptic scenes, many illustrations of parables; on the western wall of the temple there is a scene of the Last Judgment. Of particular importance are the images of Russian princes, whose purpose is to inspire the parishioners " divine power»princely power.

Also among the works of art of the 16th century, it should be noted the frescoes of the Intercession Church in the city of Alexandrov, fragments of the painting of the Church of the Miracle of the Archangel Michael Chudov of the Moscow Kremlin Monastery, the painting of the Assumption Cathedral of the Sviyazhsky Monastery.

For icon painting of the 16th century, as for frescoes, the complication of plots and the presence of small details are also characteristic. Painters endow semantic content literally in all depicted details. Often this leads to congestion of the compositions, as a result of which the viewer can understand what he saw after a long examination of the icon. An example of this is the icon "Renewal of the Cathedral of Christ our God of Resurrection" (1547, State Tretyakov Gallery), the authors of which are the Pskov masters Ostan, Yakov, Mikhailo, Yakushko, Semyon Vysokyi Glagol. In general, among the icons of the 16th century, a large number of works have a moralizing meaning, in which the authors in allegorical form condemn human vices: gluttony, love of money, fornication, vanity, anger, pride. These are scenes of parables, various episodes from the life of saints, liturgical hymns. Among such works are the icons "The Parable of the Blind Man and the Lame Man", "The Staircase of John of the Ladder", "The Vision of Eulogius" and many others.

During the reign of Ivan the Terrible, art, and, in particular, painting, was directly placed on strengthening state power. This period became a kind of culmination in the solution of new tasks facing the painting of the 16th century. So, after the fire in Moscow in 1547, works began to appear related to religious and secular painting, which had importance in the subsequent development of Russian fine arts. In these works, new trends in Russian painting, which were described earlier, were embodied and completed.

Unfortunately, many of them have not survived to our time, such as the most important work of that period - the painting of the Golden Chamber of the Kremlin Palace (1547-1552). From the surviving descriptions, we can conclude that plots glorifying the royal house and, above all, Ivan the Terrible prevailed here. The painting, secular in its purpose, contained many battle scenes, as well as compositions on the theme of the history of Russia, starting with the choice of faith by Prince Vladimir of Kyiv.

Icon Blessed is the host of the Heavenly King (Militant Church)

The icons created in Moscow after 1547 also carry a socio-political meaning. Among them is a wonderful icon "Blessed be the army", or "Church militant" (1552-1553, State Tretyakov Gallery), which is dedicated to the capture of Kazan by Ivan the Terrible. The composition of the work includes a large number of figures, which the author skillfully distributed in three wide streams. This caused at the same time an unusual, horizontally elongated format of the icon. In this icon, we see the subordination of religious symbols to a well-defined political idea. But also the painting of this period reflected other events of our time. So, in the 60s of the 16th century, when Ivan the Terrible asserted his power by numerous executions, works appeared imbued with a tragic worldview. Such works include the mournful image of John the Baptist in the icon of the Assumption Cathedral in the city of Dmitrov, the icon from the Makhrischensky monastery "John the Baptist - the angel of the desert", in which the expression on the saint's face speaks of the depth of dramatic experiences.

Speaking of Russian painting of the 15th-16th centuries, it is impossible not to mention the miniature. It is known that in the second half of the 15th century there was a school of miniaturists in Moscow. Miniatures adorned such works as the Psalter, which belonged to the Trinity-Sergius Lavra, and the "Book of the Prophets" of 1489. In the second half of the 15th century, miniature, like painting, was dominated by the traditions of the last century, but even then new trends began to appear. So, in the book of the Words of Gregory the Theologian (late 80-90s of the XV) there is an image of a young man in a Western-style costume, ornamental compositions are borrowed from the Venetian edition of 1476. One of the outstanding examples of miniature painting is the Gospel, decorated by Theodosius and Mikhail Medovartsev (1507). Theodosius, son of Dionysius, made four miniatures depicting evangelists writing. The design of the manuscript is remarkable for its amazing elegance. The compositions are enclosed in architectural frames in the form of a three-lobed arch, supported by slender columns with bizarre bases and capitals.

Starting from the second half of the 16th century, illustrated books of a secular nature appeared, among them "Christian topography" by Kozma Indikoplov. In the illustrations of Christian Topography, the artists were not limited by church canons; here they got the opportunity to introduce everyday details into the compositions. Illustrations of a similar nature are also found in the "Face Chronicle", which tells the story from the creation of the world to the reign of Ivan the Terrible. Later, numerous everyday details gradually appear in religious manuscripts, primarily in hagiographic literature. An example of this is the Life of Sergius of Radonezh, which contains 652 drawings.

Despite the fact that Moscow in the 16th century determined the direction of the development of Russian painting, there were local art schools. Their special features are present in icons created in other Russian cities: Yaroslavl, Nizhny Novgorod, Kostroma, which had their own artistic frames. The paintings of the northern regions of Russia - Arkhangelsk, Vologda, Olonets, Obonezhye, are characterized by naivety and great artistic expressiveness. In general, it can be noted that in the works of local art schools, folk, democratic tastes are clearly manifested, naive, but strong in their conviction.

History of Russia from ancient times to the XVI century. Grade 6 Chernikova Tatyana Vasilievna

§ 32. ART OF THE AGE OF A UNIFIED STATE

1. Architecture

Architecture of the 15th century In the second half of the XV century. in Moscow, Novgorod and other cities, many stone palaces, towers, cathedrals were created. In Russia united by Moscow, a new all-Russian style began to be developed, combining the traditions of Vladimir architecture and the achievements of European, especially Italian, architecture. An interesting piece of architecture Palace of Tsarevich Dmitry which was erected in 1480 - 1484. in Uglich.

In the architecture of Veliky Novgorod, severe archaic forms were combined with elements of Western Gothic. Among the monuments of the XV century. stands out Faceted Chamber. It got its name due to the fact that its vaults diverge like a fan of faces. The chamber was built in the first third of the 15th century. by order of Archbishop Evfimy.

Palace of Tsarevich Dmitry in Uglich

Cathedral-Palace Ensemble of the Moscow Kremlin. The limestone Kremlin of Dmitry Donskoy has dilapidated for 100 years. Ivan III ordered to dismantle it and ordered a new brick fortress from Italian masters. From the 15th century red brick was made in Russia using northern Italian technology. Architects Anton Fryazin (Antonio Gilardi), Mark Fryazin, Pietro Antonio Solari and Aleviz used all the achievements of the architecture of that time. The Moscow Kremlin has many "twins" in Lombardy and the Swiss canton of Ticino.

The New Kremlin (1485 - 1495) had a triangular shape, traditional for all Moscow Kremlins. The height of its walls ranged from 9 to 15 m, width - from 3 to 5 m. From the side of the river, the walls are less wide, and the most powerful on the Moat (modern Red Square). There were 18 towers. The large towers themselves were fortresses and could conduct an autonomous battle. A well was dug in the Vodovzvodnaya tower, and a well was built from Taynitskaya underground passage to the Moscow River. There was a prison in the Konstantin-Eleninskaya tower. Each tower was divided into floors, had "secrets". High tents on the towers in the XV - XVI centuries. was not, they were erected in the XVII century.

The Kremlin from the Moskva River: Annunciation, Assumption, Archangel Cathedrals, Ivan the Great Bell Tower (left to right)

Faceted Chamber of the Moscow Kremlin

Under Ivan III, an ensemble of Kremlin cathedrals and palaces began to take shape. In 1475 - 1479. a five-headed building was erected from white stone Assumption Cathedral. Its architect, Bolognese Aristotle Fioravanti, took the Assumption Cathedral in Vladimir as a model. In 1484 - 1489. Pskov architects built a house palace church - Blagoveshchensky cathedral. In 1487, Mark Fryazin built a Embankment Chamber. To her right stood treasury, where the treasury was kept. In 1487 - 1491. Mark Fryazin and Pietro Antonio Solari erected Faceted Chamber, lined with faceted blocks. Foreign ambassadors were received in this chamber.

In 1505 - 1508. Venetian architect Aleviz Novy built the cathedral archangel Michael. Ascended beside him Ivan the Great belltower. Behind the bell tower lay Ivanovskaya Square, on which the clerks shouted out decrees (hence the expression "shouting all over Ivanovskaya").

Tent style. At the beginning of the XVI century. arose new style Russian stone architecture - tent. There is still debate about its origin. The historian I. E. Zabelin (second half of the 19th century) believed that the tent style was associated with Russian wooden architecture. Other researchers believe that this is a borrowing from Western Gothic.

Cathedral of the Protection of the Virgin on the Moat

The greatest monuments of the tent style are Church of the Ascension in the village of Kolomenskoye and Cathedral of the Intercession of the Virgin on the Moat (St. Basil's Cathedral) in Moscow on Red Square. Intercession Cathedral consists of eight different-sized pillar-shaped temples surrounding the church with a high tent located in the center. The temple is distinguished by a modest interior decoration. Its walls are partly whitewashed, and partly painted like brick and decorated with ornaments. In the 17th century the temple was painted on the outside with multi-colored paints, and he took his modern look. In the second half of the 15th-16th centuries, the construction of stone fortresses began in Russia. Powerful defensive structures were erected in Ivan-gorod, Nizhny Novgorod, Tula, Kolomna, Mozhaisk. After the inclusion of Kazan and Astrakhan in Russia, these cities appeared stone kremlins. Monasteries were also surrounded by walls. Until now, the fortifications of the Solovetsky Monastery, made of huge boulders, amaze with their grandeur.

2. Painting

Dionysius. The most famous artist of the second half of the XV century. was Dionysius (c. 1440 - after 1502 - 1503). He decorated the Assumption Cathedral in Moscow and created frescoes in the Ferapontov Monastery on Beloozero.

Dionysius worked in light, turquoise-lilac colors. His images are full of grace. The figures are flexible and slender, with elongated proportions, seem weightless and seem to float in the air. Emotional fullness, which was so strong with Andrei Rublev, faded into the background for Dionysius, but Dionysius' delicate taste did not allow his creations to "drown" in external beauty.

Dionysius. Meeting of Mary and Elizabeth. Fresco

3. Sculpture. applied arts

In the XV - XVI centuries. the skill of carvers increased significantly. The original memorial is royal place in the Assumption Cathedral in Moscow (1551). The wooden gilded relief tells the legend of barmahs and the "Monomakh's cap", on the other hand, a meeting of the Boyar Duma, headed by Ivan IV, is depicted.

An example of Russian sculpture is the work of V. D. Yermolin. In 1464 - 1466. this well-known Moscow builder decorated the Frolovsky (Spassky) gates of the Kremlin with two reliefs and a statue of St. George the Victorious. A fragment of this statue is now in the Tretyakov Gallery.

Russian craftsmen achieved great success in applied art. It is enough to look at the things stored in the Armory in Moscow. The Armory itself arose in Moscow on the basis of the grand ducal treasury at the end of the 15th - beginning of the 16th century. Precious weapons were kept there, various Jewelry, symbols of royal power, etc.

Gospel salary

1. What was new in Russian architecture in the 15th - 16th centuries?

2. Name the most significant architectural monuments of that time.

3. Tell us about the work of Dionysius.

4. What can you say about the development of sculpture and applied art in Russia in the 15th - 16th centuries?

7. From united state- to the policy of living space The foreign policy of the struggle for the necessary space for the subsistence of the people. German unity in the 19th century is a step in this direction. Poles and French in the Reich as foreign bodies in the national and folk