Our Lady of Oranta. Mosaic The image of the Mother of God in Rus' has always been given much more importance than the Virgin Mary in the Catholic Church. Each image of the Mother of God has its own meaning. Church legends keep the history of the creation, appearance in Rus' of icons with the image Holy Mother of God as highly respected. The image of the Mother of God in Rus' has always been given much more importance than the Virgin Mary in the Catholic Church. Each image of the Mother of God has its own meaning. Church traditions keep the history of the creation, the appearance in Rus' of icons with the image of the Most Holy Theotokos as highly revered.
Mother of God. Oranta "Indestructible Wall! Mother of all things, great Bereginya, Intercessor of the people, Oranta. The image of Mary endowed the Russian people with such epithets. "Indestructible Wall! Mother of all things, great Bereginya, Intercessor of the people, Oranta. The image of Mary endowed the Russian people with such epithets.
Our Lady of Vladimir The embraces of the Mother of God and the Divine Child reveal the fullness of Divine love, the highest manifestation of which is the sacrifice offered by Christ for the salvation of people. It is this sacrifice that is reminiscent of the image of the throne with the instruments of passion on the back of the icon, made at the beginning of the 15th century. The embraces of the Mother of God and the Divine Child reveal the fullness of Divine love, the highest manifestation of which is the sacrifice offered by Christ for the salvation of people. It is this sacrifice that is reminiscent of the image of the throne with the instruments of passion on the back of the icon, made at the beginning of the 15th century.
Our Lady of Vladimir. Reverse side of the icon. Throne and Instruments of Passion Our Lady of Vladimir. Reverse side of the icon. Throne and Instruments of Passion The icon "Our Lady of Vladimir" is one of the most ancient and illustrious shrines of the Russian Church. The history of the miraculous icon of Vladimir is closely connected with the history of the Russian state, it is with it that the legend connects the rise of North-Eastern, and then Muscovite Rus'. As ancient chronicles and literary legends testify, through this icon the Mother of God often provided miraculous help and protection to Vladimir, Moscow and the whole Russian land.
Pantocrator. Fresco from the Church of the Savior on Ilyin Due to their monumentality and powerful pictorial temperament, the frescoes of Theophanes the Greek occupy a special place in world art of the 14th century. According to the canon, Christ the Pantocrator is depicted in the dome of the temple. Severe and terrible God. In terms of monumentality and powerful pictorial temperament, the frescoes of Theophanes the Greek occupy a special place in world art of the 14th century. According to the canon, Christ the Pantocrator is depicted in the dome of the temple. Severe and terrible God.
Elder Macarius of Egypt. Fresco The grandiose image of Macarius of Egypt is remembered forever. The contrast of a dark face, dark palms turned in prayer to God, and white hair and a long, snow-white flow of a falling beard is striking. Instead of a human body - a luminous white pillar, miraculously transformed human nature. The grandiose image of Macarius of Egypt is remembered forever. The contrast of a dark face, dark palms turned in prayer to God, and white hair and a long, snow-white flow of a falling beard is striking. Instead of a human body - a luminous white pillar, miraculously transformed human nature.
George's miracle about the snake. Icon. The Novgorodians were especially fond of St. George, a brave horseman-warrior, striking a monster-dragon with a spear. In the minds of the people of that time, Yegoriy the Brave, as the people called him, was the embodiment of a bright beginning, striking a force hostile to man, he was often seen as a fearless warrior, defender of the Motherland.
Battle of Novgorodians with Suzdalians The second half of the 15th century. The icon "Battle of Novgorodians with Suzdalians (Miracle from the Icon of the Sign)" comes from the Assumption Church in the village of Kuritskoye on Lake Ilmen. This original iconographic type is based on the legend of the icon "Our Lady of the Sign", which miraculously helped Novgorod during the siege of Suzdal troops in 1170.
Dmitry Solunsky. Icon in Russian history Orthodox Church military themes have always occupied an important place, this was manifested in the special veneration of those holy martyrs who, by the nature of their occupation, were warriors. feat of arms in Orthodox countries was seen as highest form Christian ministry. The images of martyrs-warriors reflected the ideal idea of courage, selfless courage, faith and loyalty to their Fatherland, because it was the Orthodox Fatherland, and the feat of arms in Orthodox countries was considered as the highest form of Christian service.
Fresco of the Ferapontov Monastery. St. Nicholas Dionysius significantly changes the image of a person: the figures are greatly elongated, the head, arms and legs are markedly reduced. This reflected the aristocratic tastes of royal Moscow. Harmony, absolute inner balance, festive admiration are typical for the work of Dionysius.
crucifixion. Dionysius The icon "Crucifixion" comes from the festive row of the iconostasis of the Trinity Cathedral of the Pavlo-Obnorsky Monastery near Vologda. The Crucifixion icon comes from the festive row of the iconostasis of the Trinity Cathedral of the Pavlo-Obnorsky Monastery near Vologda.
Frescoes in the Assumption Cathedral of Vladimir Andrei Rublev In 1408 Andrei Rublev and Daniil Cherny decorated with frescoes and icons the most revered temple of Moscow Rus' - the Assumption Cathedral in Vladimir. Among the extant fragments, the image of the Last Judgment, which occupied the western part of the three naves of the cathedral, is best preserved. In 1408, Andrei Rublev and Daniil Cherny decorated with frescoes and icons the most revered temple of Moscow Rus' - the Assumption Cathedral in Vladimir. Among the extant fragments, the image of the Last Judgment, which occupied the western part of the three naves of the cathedral, is best preserved.
Saved. From the Deesis Tier (of Zvenigorod) Andrei Rublev Despite the absence of any historical evidence, the icons of the Zvenigorod Tier are considered by most researchers as works by Andrei Rublev. Despite the absence of any historical evidence, the icons of the Zvenigorod tier are considered by most researchers as the works of Andrei Rublev.
Trinity Rublev Andrei "May they all be one, as You, Father, in Me, and I in You, so they will be one in Us." "May they all be one, as You, Father, are in Me, and I in You, so may they also be one in Us."
Our Lady of Oranta. Mosaic of the Image of the Mother of God in Rus'
always gave much
greater importance than
Virgin Mary in a catholic
churches. Each image has
Mother of God
meaning. Church
legends keep stories
creation, appearance
Rus' icons with image
Holy Mother of God as
highly respected.
Mother of God. Oranta
"Indestructible Wall!mother of all things,
great guardian,
human intercessor,
Oranta". Such
endowed with epithets
Russian people image
Mary.
Our Lady of Vladimir
Embrace of the Mother of God andDivine Child
reveal the fullness
divine love,
the highest manifestation
which is the victim,
brought by Christ for
saving people. About
reminds this victim
image of the throne with
instruments of passion
turnover icons,
executed at the beginning of the XV
century.
Our Lady of Vladimir. Reverse side of the icon. Throne and instruments of passion
Icon "Our LadyVladimirskaya" belongs to
among the most ancient and
famous shrines of Russian
Churches. History of Vladimirskaya
miraculous icon to the closest
related to history
Russian state, precisely from
legend binds her
elevation Northeast,
and then Muscovite Rus'. How
testify ancient
chronicles and literary
legends, through this icon
The Mother of God often provided
great help and
patronage of Vladimir,
Moscow and all the Russian land.
Novgorod painting.
Angel Golden Hair. Icon
In this poeticspiritualized
obscure
icon painter revealed
your idea
about beauty.
Pantocrator. Fresco from the Church of the Savior on Ilyin
monumentality andpowerful picturesque
fresco temperament
Theophan the Greek
occupy a special place
in world art
XIV century. According to
canon, in the dome of the temple
depicted Christ the Pantocrator. Severe and
terrible God.
Elder Macarius of Egypt. Fresco
The grandiose image of MacariusEgyptian is remembered
forever. Striking
dark face contrast,
dark palms,
addressed in prayer to
God, and white hair and
long, white
stream of falling beard.
Instead of a human body, a luminous white pillar,
miraculously
transfigured
human nature.
George's miracle about the snake. Icon.
special loveNovgorodians enjoyed
Saint George the brave
rider-warrior, striking
spear monster-dragon. IN
the minds of the people
time Yegoriy the Brave,
as the people called him,
was the epitome of light
beginning that strikes
force hostile to man,
often seen in it
fearless warrior,
defender of the Motherland.
Battle of Novgorodians with Suzdalians Second half of the 15th century. .
Icon "Battle of the Novgorodians withSuzdal (Miracle from the icon
"Omen")" comes from
Assumption Church of the village
Kuritskoye on Lake Ilmen.
At the heart of this
original
iconographic type
there is a legend about the icon
"Our Lady of the Sign",
miraculously
assisted
Novgorod during the siege
Suzdal troops in
1170.
Fine arts of the Vladimir-Suzdal principality
Dmitry Solunsky. Icon
In the history of RussianOrthodox Church military
the subject has always occupied
important place, it manifested
in special veneration of those saints
martyrs who are by birth
their occupations were warriors
In the images of martyrs-warriors
reflected the ideal
idea of courage
selfless courage, faith and
loyalty to one's fatherland,
because it was the Fatherland
Orthodox, but a feat of arms
in Orthodox countries
viewed as
the highest form of service
Christian.
Church of the Intercession of the Virgin on the Nerl River. Fragment of a wall
Creativity of Rublev and Dionisy.
Fresco of the Ferapontov Monastery. Virgin with kneeling angels
Hymn to the Theotokos, protectress of the Russian landfrescoes performed by Dionysius in the church sound
Nativity of the Virgin of the Ferapontov Monastery. .
Fresco of the Ferapontov Monastery. Virgin with angels
Fresco of the Ferapontov Monastery. St Nicholas
Dionysius essentiallychanges the image of a person:
figures are greatly elongated,
head, arms and legs
are markedly reduced. IN
this was reflected
aristocracy of tastes
royal Moscow.
Harmony, absolute
inner balance,
festive admiration
characteristic of creativity
Dionysius.
crucifixion. Dionysius
Icon "Crucifixion"comes from
holiday series
iconostasis
Trinity Cathedral
Pavlo-Obnorsky
monastery near
Vologda.
Frescoes in the Assumption Cathedral Vladimir Rublev Andrey
In 1408 Andrei Rublev and Daniil Cherny decoratedfrescoes and icons the most revered temple of Moscow Rus'
- Assumption Cathedral in Vladimir. Among the extant fragments
the best preserved image of the Last Judgment,
which occupied the western part of the three naves of the cathedral.
Saved. From the Deesis Tier (Zvenigorodsky) Andrei Rublev
Despite the absenceany
historical
certificates, icons
Zvenigorod rank
considered
majority
researchers like
Andrey's works
Rublev.
Trinity Rublev Andrey
"Let everyone beone as you
Father, in Me, and
I am in You, so
they will be in
We are one."
Art
Compiled by Ladova L.A., 2015
Baptism of Rus'
Ancient Slavic culture + Byzantine culture
OLD RUSSIAN CULTURE
BAPTISM OF Rus'
Construction of temples writing
painting of temples
ARCHITECTURE PAINTING LITERATURE
The main part of the territory of North-Eastern Rus', lying between the Oka and Volga rivers, was included in Vladimir-Suzdal principality.
In 1158-1164. at Prince Yuri Dolgoruky the construction of fortress walls around Vladimir begins, stone travel towers stood out in particular - Silver and Golden Gates. Cathedral being laid at the same time Dormition Our Lady. It was a large one-domed temple. As building material the architects used white stone blocks and tuff. stone carving- a distinctive feature of the Vladimir churches. In the interior of the temple there were many precious icons in gold settings, the walls were decorated with frescoes.
Ancient Russian architecture, in the presence of great monumentality, is characterized by the extreme plasticity of forms, a sense of their calmness and inviolability, commensurability with the size of a person, his scale and needs.
_______________________________________ ______
A characteristic feature that related all the architecture of that time was organic combination of architectural structures with the natural landscape.
Hagia Sophia in Kyiv (Sofia Kyiv)
Architecture is the soul of the people, embodied in stone
Golden Gate in Kyiv
Magdeburg Gate in Novgorod
Church of Boris and Gleb in Kideksha 1152.
In the Vladimir-Suzdal Principality, starting with the rather modest in terms of decoration buildings of Yuri Dolgoruky such as the church of Boris and Gleb in Kideksha, an original, bright architecture developed, distinguished by a special elegance of proportions and elegance of the external decor, in particular, virtuoso carving on white stone.
Assumption Cathedral in Vladimir 1185-1189
Stone construction was especially active in Vladimir.
The building artel, in addition to local craftsmen, included Western Europeans sent by Emperor Frederick Barbarossa.
The largest object was Assumption Cathedral the city of Vladimir (1158-1160, rebuilt in 1185-1189), which differed both from Kyiv and from the early monuments of North-Eastern Rus'.
This is a white-stone temple of slender proportions and large size, decorated with luxurious carved perspective portals, arcade-columnar belt, and complexly profiled pilasters.
The Cathedral of the Dormition witnessed the rapid flourishing of Vladimir-Suzdal Rus and its brutal devastation by hordes of Tatar-Mongol invaders.
It was in the Assumption Cathedral that the the first Vladimir chronicles, at the altar of the Assumption Cathedral, commanders were erected to reign Alexander Nevskiy , Dmitry Donskoy and other Vladimir and Moscow princes.
In the first quarter of the 14th century, the Assumption Cathedral was the main temple of Rus' .
Inside, frescoes by masters of the 12th century, icon painters of the 15th century have been preserved. Andrey Rublev And Daniel Cherny.
Church of the Intercession on the Nerl, 1165
The church is connected with the military campaigns of the princes of Vladimir Veil on the Nerl, founded a kilometer from Bogolyubov (country princely residence) at the confluence of the Nerl into the Klyazma in memory of the son of Andrei Bogolyubsky Izyaslav, who died of wounds.
After Mongol-Tatar ruin Russian architecture was going through a period of decline and stagnation. Monumental construction stopped for half a century, the cadres of builders were essentially destroyed, and technical continuity was also undermined. Therefore, at the end of the 13th century, in many ways it was necessary to start over.
Construction is now concentrated in two main areas: in the northwest ( Novgorod and Pskov) and in the ancient Vladimir land ( Moscow and Tver).
Plinth was replaced by a cheap one flagstone, which, in combination with boulders and bricks, formed the uniquely plastic silhouettes of Novgorod buildings.
____________________________________________________
CANON - the rule of depicting and placing holy images in the interior of the temple.
FRESCO - wall painting with water-based paints on wet plaster.
MOSAIC - an image or ornament made of separate, tightly fitting multi-colored pieces of glass, colored stones, metals, enamel, etc., tightly fitted to each other.
Christ the Pantocrator (Cathedral of St. Sophia of Kyiv
Our Lady of Oranta (Cathedral of St. Sophia of Kyiv
Annunciation "Ustyug". XII century.
Apostles Peter and Paul. Icon of the middle of the XI century. Novgorod Museum.
Bogolyubskaya icon of the Mother of God. XII century. Knyaginin Monastery in Vladimir.
Savior Not Made by Hands. Around 1191.
Introduction The history of ancient Russian art spans almost a millennium. It originated in the 9th-10th centuries, when the first feudal state of the Eastern Slavs arose - Kievan Rus. Being formed and developing in close interaction with many cultures of nearby, and sometimes very distant countries, ancient Russian art, representing a holistic and brightly original phenomenon, has taken its special place in the history of world art. In terms of its significance, it is on a par with Byzantium and the largest centers of medieval culture in Western Europe and the East.
The adoption of Christianity was of progressive importance in art. It contributed to a more organic and deeper assimilation of all the best that Byzantium, which was advanced for that time, had. However, Christianity, having had a strong impact on Russian culture, especially in the field of literature, architecture, art, the development of literacy, schooling, libraries - in those areas that were closely connected with the life of the church, with religion, could not overcome the origins of the people. Russian culture.
Paganism in art Among the many factors that determined the peculiar features of the emerging early Slavic cultural community, two main ones should be distinguished. The first of them is the predominance of animistic beliefs in numerous impersonal good and evil spirits that surround a person everywhere, capable of appearing in different images (“werewolves”), and cults of the “lower order” associated with the patron gods of the clan and tribe, contributing to its well-being, protecting his land and livestock, giving them fertility.
The second factor is the breadth and intensity of cultural contacts, which explain the variety of motifs and forms that are observed in the most perfect monuments of the craft of Slavic masters proper, which date back to the 6th-10th centuries. It is also associated with such a phenomenon as syncretism, that is, a combination in cult rites and decor of ritual objects of elements characteristic of different religions. Syncretism could be called one of the most conspicuous properties Slavic culture throughout the pre-Christian period of its history.
The bulk of the finds are items made of ferrous and non-ferrous metals, ceramic vessels. Elements of artistry, the accuracy of rendering an abstract three-dimensional form, the measure of overcoming the roughness and inertness of natural material, the thoroughness of surface treatment, the nature and abundance of ornamentation are noticeably enhanced in objects that, as one might assume, had a ritual purpose. Thus, the fine patterns that covered the walls of clay vessels may represent symbols of fertility, the sun, water and fire. The bulk of the finds are items made of ferrous and non-ferrous metals, ceramic vessels. Elements of artistry, the accuracy of rendering an abstract three-dimensional form, the measure of overcoming the roughness and inertness of natural material, the thoroughness of surface treatment, the nature and abundance of ornamentation are noticeably enhanced in objects that, as one might assume, had a ritual purpose. Thus, the fine patterns that covered the walls of clay vessels may represent symbols of fertility, the sun, water and fire.
Judging by the nature of the decorations found by archaeologists in vast territories, the Art of the Eastern Slavs, inhabited by Slavic tribes, in the art of the 8th-10th centuries makes itself felt the process of separating from the mass of products of artistic craft works of the highest quality associated with the life of the tribal nobility. Judging by the nature of the decorations found by archaeologists in vast territories, the Art of the Eastern Slavs, inhabited by Slavic tribes, in the art of the 8th-10th centuries makes itself felt the process of separating from the mass of products of artistic craft works of the highest quality associated with the life of the tribal nobility.
Slavic gods are endowed with the greatest strength, power and opportunities and, accordingly, are considered as the highest sacred values. On their will depends the well-being of man; in the most critical situations, he directly turns to the gods with requests for help. Olga's grandson, Prince Vladimir, repeating around 980 the official nationwide cult of Perun, Khors, Stribog, Simargl and Mokosh. Only two of them - Perun and Mokosh - can be attributed to the Slavic (more precisely, Balto-Slavic and Finno-Ugric) pantheon, while others bore obvious signs of cults of Sarmatian-Iranian origin. Their sculptures are placed on a hill in Kyiv. Slavic gods are endowed with the greatest strength, power and capabilities and, accordingly, are considered as the highest sacred values. On their will depends the well-being of man; in the most critical situations, he directly turns to the gods with requests for help. Olga's grandson, Prince Vladimir, repeating around 980 the official nationwide cult of Perun, Khors, Stribog, Simargl and Mokosh. Only two of them - Perun and Mokosh - can be attributed to the Slavic (more precisely, Balto-Slavic and Finno-Ugric) pantheon, while others bore obvious signs of cults of Sarmatian-Iranian origin. Their sculptures are placed on a hill in Kyiv.
The active involvement of Rus' in the orbit of attraction of Byzantine artistic and spiritual culture began long before 988, the time of its official christening. In the art cultivated at the Kiev princely court, along with traditional ornamental and emblematic compositions, under the influence of Byzantine samples, “realistic” images, in the center of which are human figures, are becoming more widespread. They represent hunting scenes, struggles of mythological heroes, circus games. A bone comb of the 10th century (State Hermitage Museum, St. Petersburg) from Belaya Vezha (Sarkela) on the Don, a Khazar city captured by Prince Svyatoslav in 965, belongs to such works. The active involvement of Rus' in the orbit of attraction of Byzantine artistic and spiritual culture began long before 988, the time of its official christening. In the art cultivated at the Kiev princely court, along with traditional ornamental and emblematic compositions, under the influence of Byzantine samples, “realistic” images, in the center of which are human figures, are becoming more widespread. They represent hunting scenes, struggles of mythological heroes, circus games. A bone comb of the 10th century (State Hermitage Museum, St. Petersburg) from Belaya Vezha (Sarkela) on the Don, a Khazar city captured by Prince Svyatoslav in 965, belongs to such works.
Art of Kievan Rus after the adoption of Christianity Having adopted Christianity from Byzantium, Rus', naturally, also adopted certain foundations of culture. But these foundations were reworked and acquired in Rus' their specific, deeply national forms. These features are very clearly manifested in architecture. Although ancient Russian architecture achieved serious success in civil and fortification construction, its originality is especially pronounced in places of worship - temples. Having adopted Christianity from Byzantium, Rus' naturally adopted certain foundations of culture. But these foundations were reworked and acquired in Rus' their specific, deeply national forms. These features are very clearly manifested in architecture. Although ancient Russian architecture achieved serious success in civil and fortification construction, its originality is especially evident in places of worship - temples.
Christian churches appeared in Rus' as early as the 10th century. At first they were wooden. At the end of the 10th c. in Novgorod, the church of St. Sophia "about thirteen tops", and she was "honestly arranged and decorated." In 1049, the church burned down, as many tens of thousands of wooden buildings erected by Russian architects in the 11th and subsequent centuries burned down. Unfortunately, the ancient wooden buildings have not survived to this day, but the architectural style of the people has come down to us in later wooden structures, in ancient descriptions and drawings. Christian churches appeared in Rus' as early as the 10th century. At first they were wooden. At the end of the 10th c. in Novgorod, the church of St. Sophia "about thirteen tops", and she was "honestly arranged and decorated." In 1049, the church burned down, as many tens of thousands of wooden buildings erected by Russian architects in the 11th and subsequent centuries burned down. Unfortunately, the ancient wooden buildings have not survived to this day, but the architectural style of the people has come down to us in later wooden structures, in ancient descriptions and drawings.
The peculiarity of the architecture of Rus' was manifested, on the one hand, in following the Byzantine traditions (in the beginning, the masters were mostly Greeks), on the other hand, there was immediately a departure from the Byzantine canons, the search for independent ways in architecture. So, already in the first stone church of Tithes, there were such features not characteristic of Byzantium as multi-domed (up to 25 domes), pyramidality is a purely Russian heritage of wooden architecture, transferred to stone. The peculiarity of the architecture of Rus' was manifested, on the one hand, in following the Byzantine traditions (in the beginning, the masters were mostly Greeks), on the other hand, there was immediately a departure from the Byzantine canons, the search for independent ways in architecture. So, already in the first stone church of Tithes, there were such features not characteristic of Byzantium as multi-domed (up to 25 domes), pyramidality is a purely Russian heritage of wooden architecture, transferred to stone.
During the construction of the most significant monument of that time - St. Sophia Cathedral in Kyiv (11th century) - ancient Russian architecture already had its own methods of monumental architecture. The Byzantine system of the cross-domed church, with the clarity of its main divisions and the logical composition of the interior space, formed the basis of the five-nave Kyiv Cathedral of St. Sophia. However, not only the experience of building the Church of the Tithes was used here. The cathedral differs from all Byzantine churches in the number of domes: there are thirteen of them, that is, as many as there were in the unpreserved wooden church of Sophia in Novgorod. During the construction of the most significant monument of that time - St. Sophia Cathedral in Kyiv (11th century) - ancient Russian architecture already had its own methods of monumental architecture. The Byzantine system of the cross-domed church, with the clarity of its main divisions and the logical composition of the interior space, formed the basis of the five-nave Kyiv Cathedral of St. Sophia. However, not only the experience of building the Church of the Tithes was used here. The cathedral differs from all Byzantine churches in the number of domes: there are thirteen of them, that is, as many as there were in the unpreserved wooden church of Sophia in Novgorod.
In the fine arts of Ancient Rus', originality manifested itself with no less force. Painting as such did not exist in pre-Christian Rus'. She came along with Byzantine icons and Byzantine artists. But already in the centuries. In ancient Russian icon painting, images and plots related to them, characteristic only for Russia, appeared, in particular, the cult of the great martyrs Boris and Gleb became widespread.
The main types of painting in ancient Rus' were fresco and icon. The Christian Church introduced a completely different content into these types of art. The main types of painting in ancient Rus' were frescoes and icons. The Christian Church introduced a completely different content into these types of art. A fresco is a painting on wet plaster. It was mainly used for painting the interiors of temples and churches. A fresco is a painting on wet plaster. It was mainly used for painting the interiors of temples and churches.
The icon is an image of the faces of Jesus Christ, the Mother of God, saints, scenes from the Holy Scriptures. The church attributed a sacred character to this image, therefore the icon performed the function of a religious cult - they worshiped it, prayed to it. The icon is an image of the faces of Jesus Christ, the Mother of God, saints, scenes from the Holy Scriptures. The church attributed a sacred character to this image, therefore the icon performed the function of a religious cult - they worshiped it, prayed to it. "Nicholas the Wonderworker" (beginning of the 13th century)
And the writing of icons - iconography - was the main type of painting of that time. Even in Byzantium, icon painting never played such an important role as in Rus', where it became one of the main, widespread forms of fine art, a rival of monumental painting. It is icons that are the main genre of ancient Russian painting. Icon painting, unlike secular painting, was carried out according to certain canons.
The most notable are the icons and murals of the St. Sophia Cathedral in Kiev (1037), the Church of the Savior Nereditsa in Novgorod (1199), the icons of the Ustyug Annunciation (late 12th century), the Savior Not Made by Hands (late 12th century), and the Head of the Archangel ( end of the 12th century), "Nicholas the Wonderworker" (beginning of the 13th century).
Conclusion During the formation of feudal Rus' (especially after the Baptism of Rus'), the influence of Byzantium was very strong. The long period of development of Russian culture was determined by religion. For many centuries, temple building and icon painting became the leading cultural genres. Iconography marked the beginning of Russian painting. Although at first Russian icon painters adhered to the Byzantine style, very soon their own Russian style was developed and Rus' produced a number of famous icon painters who glorified themselves and Russian icon painting all over the world. Of course, the art of Ancient Rus' follows certain canons, which can be traced both in architectural forms and in iconography - even examples were created in painting - “draw”, “originals”, facial and explanatory (in the first it was shown how to write, in the second it was “interpreted ”), but also following the canons, and contrary to them, the rich creative personality of the Russian artist was able to express himself.
Orthodoxy also marked the beginning of Russian architecture - architecture. There were no temples in pagan Rus'. The adoption of Christianity soon led to the construction of huge stone structures in the main centers of Rus', first according to Byzantine models, and then in their own, Russian style. Based on the age-old traditions of Eastern European art, Russian masters managed to create their own national art, enrich European culture with new forms of temples inherent only in Rus', original wall paintings and iconography, which cannot be confused with Byzantine, despite the common iconography and the apparent closeness of the pictorial language. This construction led to the development of other arts and crafts: jewelry, enamel production, etc. From the 12th century. Byzantine influence on our culture is weakening.
Description of the presentation individual slides:
1 slide
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2 slide
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The glory of ancient Russian art is not only architecture, but also inextricably linked with it mosaic, icon painting, fresco painting, stone carving and wooden sculpture.
3 slide
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Mosaics and frescoes of St. Sophia of Kyiv Mosaics and frescoes of St. Sophia of Kyiv are a unique ensemble of works of monumental art of the 11th century. The authors of the paintings were not only local, but also Byzantine masters, which is why most of the frescoes correspond to the Byzantine canon.
4 slide
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The main themes of mosaics and frescoes are the glorification of the heavenly and earthly churches, divinity, princely power. In harsh and strict faces, an intense spiritual life, a deep conviction in the truth of the Christian faith, a readiness for self-sacrifice in its name are conveyed. Savior Almighty John Chrysostom
5 slide
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Our Lady Oranta (Praying) (XI century Hagia Sophia, Kyiv) Is one of the masterpieces of mosaic paintings. The Mother of God is depicted with her hands raised high, praying to the Almighty Christ. Surrounded by the twinkling of golden smalt cubes, dressed in festive blue-gold clothes, she rises above the altar and makes an indelible impression on those present. Her calm and solemn face, patronizing hand gestures are perceived as the personification of intercession and protection.
6 slide
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No less interesting are the mural paintings of a secular nature, reflecting the real world of man. In the western part of the St. Sophia Cathedral in Kiev, two group portraits of the family of Yaroslav the Wise, who became famous for victories over the Pechenegs, the construction of new powerful fortifications around Kiev, the founder of the first library in Rus', have been preserved
7 slide
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One fresco depicts the Grand Duke himself with his sons carrying a model of St. Sophia Cathedral in their hands. Another fresco depicts portraits of Yaroslav's daughters, humbly stepping in a row with candles in their hands. Depicted in full growth in festive clothes, they carefully look at the world with wide eyes. Their spiritual faces are individualized. In a calm and restrained appearance, the idea of \u200b\u200bfemale beauty is conveyed.
8 slide
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Novgorod painting. Simultaneously with architectural structures, the Novgorod school of painting was formed, represented mainly by icons. Compared to Byzantine icons, Novgorod icons have a lot of expression, emotional expressiveness, immediacy in expressing feelings. Early icons - "Angel of Golden Hair", "Savior Not Made by Hands", "Ustyug Annunciation"
9 slide
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Icon "Angel of Golden Hair" Kindness and meekness are seen in the pensive and sad expression of the angel's face. A bright red cloak, the corner of which is visible from below, the blush of the cheeks, blond wavy hair with golden threads give the icon a special charm. The master of Novgorod preferred bright and juicy tones to the subdued ocher and olive tones of Byzantine icons.
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Creativity of Theophan the Greek (c. 1340 - after 1405) In the work of a Byzantine artist who arrived in Novgorod in the 70s of the XIV century. An uncontrollable impulse of passions is conveyed. His energetic, impetuous manner of writing cannot be confused with any other. In the fresco paintings of Theophanes the Greek there is both a magnificent mastery of color and severe asceticism. In his manner of writing, chiaroscuro becomes decisive, with the help of which he achieves the volume of the image. But the main thing that distinguishes the artistic style of Theophan the Greek is a penetrating understanding of the human soul, its high inner impulses and aspirations.
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Fresco "Elder Macarius of Egypt" (1378) In the face of a hundred-year-old elder one feels tragedy, hidden prayer, sorrow and hope. Gray hair, watery, almost blind eyes, a wrinkled face, a desperate, detached from worldly fuss gesture of raised hands, a powerful turn of the shoulders - everything is designed to convey the former power and firmness of the elder's spirit. Once he was a famous theologian, the author of numerous theological "Conversations", and now, secluded from the outside world, he still does not find peace of mind.
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Fine Arts of Vladimir-Suzdal Principality Few of the works of fine art of Vladimir-Suzdal Rus have preserved time. A small part of the frescoes in the Dmitrievsky Cathedral in Vladimir and a few icons of the late XII - XIII centuries. remind of the flourishing of a strong and original school of ancient Russian painting.
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Icon "Dmitry of Thessalonica" (Late XII - XIII century. State Tretyakov Gallery, Moscow) The image of a severe Christian saint and martyr is embodied in the monumental icon. Dressed in rich clothes adorned with gold and precious stones, he sits on a magnificent throne. An angel crowns his head with a princely crown, thus emphasizing his divine origin. In his right hand Dmitry Thessalonica holds a heavy sword - a symbol of unshakable princely power. The smooth rhythm of his mighty shoulders, the folds of his clothes, the decorativeness of color - all testify to the high skill of the artist - icon painter.
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The work of Andrei Rublev (c. 1360/1370 - 1430) The work of Andrei Rublev brought fame and glory to the Moscow school of painting. Little is known about the fate of this greatest Russian artist. It is not known its origin, the reasons for the transition from one monastery to another, the relationship with the surrounding people. His work did not reflect the dark, cruel time when Rus' was under the Mongol-Tatar yoke. On the contrary, calm silence reigns in it, fascination with life, responsiveness of the soul.
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The icon "The Savior in Power" (1408, State Tretyakov Gallery, Moscow) The icon depicts Jesus Christ sitting on a throne with the open text of the Gospel. The artist fully managed to convey the depth and sublime nobility of the image. The majestic appearance of the Savior, combined with spiritual responsiveness, allows us to see in him a national ideal, which expresses ideas about the justice and holiness of faith. The clean, soft-sounding tones of the icon, its solemn and clear rhythm testify to the high skill of the artist.
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"Zvenigorod Spas" (Beginning of the 15th century. State Tretyakov Gallery, Moscow) This is one of the most expressive and heartfelt works of Rublev. It conveys an expression of soft tenderness and spiritual kindness. An open and meek gaze, directed to an unknown distance, is full of such humanity and participation in the fate of people, which ancient Russian painting has not yet known. The coloring of the icon is refined, in which transparent pink ocher is used, emphasizing the softness and smoothness of calm lines.
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"Trinity" (1425 - 1427) The famous "Trinity" is the pinnacle of Andrei Rublev's artistic creativity. It expresses the ideals of Goodness and Justice, Love and Consent.
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The work of Dionysius (c. 1440 - 1503) Dionysius became a worthy successor to Theophan the Greek and Andrei Rublev. He created a world of high spirituality, the triumph of goodness and the ideal. Dionysius was patronized by Tsar Ivan III. The works of Dionysius are distinguished by the refined proportions of elongated figures. Having lost volume, becoming incorporeal, they seem to soar in space. Dionysius prefers gentle, light shades: blue, turquoise, raspberry, pink, lilac, greenish ... Researchers count about forty tones in the works of Dionysius, they note 146 shades of ocher. The murals of Dionysius are festive and joyful.
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Already a well-known artist, Dionysius was invited to the Vologda lands, where, together with his sons, he painted the Cathedral of the Nativity of Our Lady of the Ferapontov Monastery.
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Among the frescoes of the Ferapontov Monastery, a huge composition “Rejoices in You” stands out, imbued with the joyful glorification of the Mother of God. The fresco depicts many figures, heavenly forces and people standing in front of Mary. They all sing the glory of Mary, seated on the throne with the baby in her arms.
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Ancient Russian musical culture with its origins goes back to the pagan traditions of the Slavs. Folk songs, invocations of spring, laments accompanying funerals or weddings, songs during the harvest or during military campaigns have always been an integral part of the life of our ancestors.
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The nature of the musical culture of Ancient Rus' was largely influenced by the adoption of Christianity. The musical canon and the system of genres were borrowed from Byzantium. From now on, music develops under the auspices of the church and is considered as an integral part of worship. Choral church chants (kontakia, stichera, canons) were dedicated to the main church holidays, the lives of especially revered saints.
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The basic principles of church hymns - "coherence and goodness" - were formulated in the teachings of Theodosius of the Caves and assumed their consistent and harmonious performance.
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The basis of ancient Russian singing art is the Znamenny chant, i.e. sung word. He received this name from the Slavic word "banner", i.e. "sign", which recorded chants. Znamenny singing is also called kryukovy, because. the image of hooks was the most important musical sign.