Artistic cultural monuments from the times of ancient Rus'. Preserved architectural monuments of Ancient Rus' of the 11th - early 13th centuries Ancient monuments of Rus'

The times of Ancient Rus', the cultural monuments of which form the subject of this review, are the most important period in Russian history, since it was then that the foundations of statehood, public, political, economic and social structures were laid, which was expressed in written, archaeological and architectural sources.

General characteristics of the era

The foundations of the state government were formed during the times of Ancient Rus'. The cultural monuments of this era are interesting because they reflect the ideological foundations of the young Russian society, which had just converted to Orthodoxy. A major role in their creation was played by the initiative of the princes, who very often contributed to stone construction, the writing of chronicles, and the construction of buildings for civil and defensive purposes. Subsequently, the initiative passed to the population, primarily to city residents, who very often built churches and temples at their own expense. Greek influence played a great role in this cultural process. Byzantine masters became the builders of many monuments, and also taught a lot to the Russians, who, having adopted their rules and traditions, soon began to create their own unique structures.

Type of temples

The times of Ancient Rus', whose cultural monuments are mainly represented by church construction, are traditionally dated to the pre-Mongol period, from the 9th to the beginning of the 13th century, but in a broader sense, later centuries are also applicable to this concept. Russian architecture adopted Byzantine traditions, so the cross-domed churches of Ancient Rus', in principle, repeat their features. However, in our country, the construction of white-stone rectangular churches became widespread, and the semicircular dome was replaced with a helmet-shaped one. Masters very often created mosaics and frescoes. Temples with four pillars were especially common; those with six and eight columns were less common. Most often they had three naves.

Early Church

The times of Ancient Rus', whose cultural monuments are inextricably linked with baptism and the adoption of Orthodoxy, became the heyday of stone temple construction. In the list of these buildings, we should highlight the most basic ones, the construction of which became a landmark event in history and served as the beginning for further construction. One of the first largest and most significant churches was the Church of the Assumption of the Blessed Virgin Mary, which was also popularly called Tithe Church, since the prince specially allocated a tenth of his income for it. It was built under Vladimir Svyatoslavich the Saint, who baptized the Russian land.

Peculiarities

Archaeologists find it difficult to restore its original appearance, however, some surviving data, such as Greek marks on bricks, marble decorations, and a mosaic floor, indicate that the construction was carried out by Greek craftsmen. At the same time, the surviving inscriptions in Cyrillic and ceramic tiles suggest the participation of the Slavs in the construction. The church was built as a cross-domed structure according to the traditional Byzantine canon.

11th century temples

The times of Ancient Rus', whose cultural monuments prove the rapid spread and establishment of Orthodoxy in our country, became a period of active construction of churches, different in size, composition and structure. The second most important temple on this list is St. Sophia Cathedral in Kyiv. It was erected under the reign of Yaroslav the Wise and was to become the main religious center of the new power. Its peculiarity is the presence of large choirs. It has thirteen domes with windows. In the center is the main one, below are four smaller ones, and then there are even smaller eight domes. The cathedral has two staircase towers, two-tier and one-tier galleries. There are mosaics and frescoes inside.

Cross-domed churches of Ancient Rus' became widespread in our country. Another important building was the Assumption Church of the Kiev Pechersk Lavra. It had three naves, a spacious interior and one dome. It was blown up during the Second World War and subsequently restored in the traditions of Ukrainian Baroque.

Novgorod architecture

Monuments of Russian culture are varied in style and structure. Novgorod temples and churches have their own unique features, which make it possible to distinguish this tradition as special in the history of Russian architecture. Separately, in the list of ancient Russian buildings, the St. Sophia Cathedral should be highlighted, which for a long time remained the main religious center of the republic. It has five domes and a staircase tower. The domes are shaped like helmets. The walls are built of limestone, the interior is similar to a Kyiv church, the arches are elongated, but some details have undergone slight simplification, which later became a characteristic feature of the city's architecture.

At first, the masters imitated Kyiv models, but later Novgorod architecture acquired its original appearance thanks to unique and easily recognizable features. Their temples are small in size, squat and simple in design. One of the most famous churches in this style is the Transfiguration Church on Nereditsa. It is very simple, but has a very majestic appearance. It is small in size, has no external decoration, and the lines are very simple. These features are characteristic of Novgorod churches, the appearance of which is even somewhat disproportional, which makes them unique.

Buildings in other cities

Monuments in Nizhny Novgorod are also included in the list of the most famous ancient Russian buildings. One of the churches is dedicated to the holy prophet Elijah. It was erected in the 16th century in memory of the city’s deliverance from the invasion of the Tatars and Nogais. At first it was made of wood, but then, in the mid-17th century, it was rebuilt in stone. In the 19th century, the one-domed church was rebuilt into a five-domed one, which gave its name to the street in the city.

Monuments in Nizhny Novgorod occupy a prominent place in the history of Russian architecture. One of the most famous is St. Michael the Archangel Cathedral, built in the 13th century. It was a white stone church with 4 pillars and 3 apses.

So, the cities of other lands and appanage principalities also became centers of active architectural construction. Their traditions are distinguished by their original and unique features. The Church of St. Nicholas Nadein in Yaroslavl is a unique temple of the 17th century. It was erected on the banks of the Volga and became the first stone church in the city's suburbs.

The initiator was the merchant Nadya Sveteshnikov, after whom many merchants and artisans also began to build churches. The base of the temple was raised on a high base, on top there were five domes on thin drum necks. The Church of St. Nicholas Nadein has a unique iconostasis. It is made in the Baroque style and replaced an older one in the 18th century.

Meaning

Thus, ancient Russian architecture is unique in its features, style and interior. Therefore, it occupies a prominent place not only in domestic culture, but also in world art in general. In this regard, the protection of historical and cultural monuments is now especially important. Many of them have not survived to this day, some were destroyed during the war, so modern archaeologists and restorers attach great importance to their reconstruction and renovation.

By decree of Andrei Bogolyubsky in 1165, between the Klyazma and Nerlya rivers in the Vladimir region, a church temple was erected in memory of the prince’s son who died at the hands of the Bulgars. The church has one dome, but it was built of white stone, which was a novelty at that time. In those days, the main building material was wood. But wooden buildings were often destroyed by fires and were unstable in the face of enemy attacks.

Although the temple was built in memory of the son of Andrei Bogolyubsky, it was dedicated to the church holiday of the Intercession of the Blessed Virgin Mary. This is the first such monument and very important, since Orthodoxy in Rus' was just being established.

The design of the temple seems very simple. Its main components are four pillars, three apses, and a cruciform dome. The church has one chapter. But it is created in such proportions that from a distance it appears to be floating above the earth. This church temple is rightfully included in the list of UNESCO World Heritage Sites.

Tithe Church

The Church of the Assumption of the Blessed Virgin Mary in Kyiv, called Tithes, is associated with the baptism of Rus'. This was the first stone structure. The church was built over five years, from 991 to 996, on the site of the battle between Christians and pagans. Although in the Tale of Bygone Years the year 989 is named as the beginning of the construction of the temple.

Here the earthly journey of the first martyrs Fedor, as well as his son John, ended. Prince Vladimir Svyatoslavich, by his decree, allocated tithes from the state treasury, or at present, from the budget, for the construction of the church. That is why the church received this name.

At one time it was the largest temple. In 1240, troops of the Tatar-Mongol Khanate destroyed the temple. According to other sources, the church collapsed under the weight of the people who had gathered there in the hope of hiding from the invaders. From this archaeological site, only the foundation has been preserved.

Golden Gate

The Golden Gate is considered a symbol of the power and greatness of Ancient Rus'. In 1158, Andrei Bogolyubsky ordered to surround the city of Vladimir with a rampart. After 6 years, he ordered the construction of five entrance gates. Until now, only the Golden Gate, which is an architectural monument, has survived.

This gate was made of oak. Subsequently, they were bound with sheets of copper and covered with gold. But this is not the only reason why the gate got its name. The gilded doors were a real work of art. Residents of the city removed them before the invasion of the Mongol-Tatar army. These doors are included in the UNESCO register as masterpieces lost by humanity.

True, in 1970 a message appeared that the valves were found by Japanese archaeological scientists who took part in cleaning the Klyazma River. It was then that many artifacts were discovered, including valves. But the most valuable thing about them is that the gold plates have not yet been found.

According to legend, the gate arches fell during the completion of construction, crushing 12 builders. Eyewitnesses decided that they all died. Andrei Bogolyubsky ordered to bring the icon of the Mother of God and began to pray for people in trouble. When the gate was cleared of the rubble and raised, the workers there turned out to be alive. They didn't even receive any damage.

It took seven years to build this cathedral. It was erected in honor of the inhabitants of Novgorod, with the help of whom Yaroslav the Wise became the Grand Duke. The construction of the cathedral was completed in 1052. For Yaroslav the Wise, this year became a landmark one. He buried his son Vladimir in Kyiv.

The cathedral was built from different materials. The main ones were brick and stone. The walls of the cathedral were lined with marble, and mosaic patterns and paintings were built into them. This is the trend of Byzantine masters, who sought to be adopted by Slavic architects. Later, marble was replaced with limestone, and frescoes were installed instead of mosaics.

The first painting is dated 1109. But the frescoes were also destroyed over time. Especially much was lost during the Great Patriotic War. Only the fresco “Constantine and Helena” survived into the 21st century.

There are no galleries in the cathedral; outwardly it appears as a cross-domed church with five naves. At that time, this style was characteristic of most temples. Here are three iconostases created in the distant past. Among the main icons in the cathedral are the Tikhvin Icon of the Mother of God, Euthymius the Great, Savva the Illuminated, Anthony the Great, and the Icon of the Mother of God “The Sign”.

There are also old books here. There are many partially disparate works, although there are some that have survived. These are books by Prince Vladimir, Princess Irina, Archbishops John and Nikita, Princes Fyodor and Mstislav. A figurine of a dove, symbolizing the Holy Spirit, adorns the cross of the dome, located in the center.

This temple is unique not only because it is made in the style of romanticism. The cathedral impresses with elements reminiscent of Western basilicas. The most important thing is the white stone carving. Everything worked out thanks to the fact that the construction of the cathedral lay solely on the shoulders of Russian architects. The finishing work was carried out by Greek craftsmen. Everyone tried to do the job in such a way as not to disgrace their state.

The best craftsmen were gathered here, since the cathedral was being built for Prince Vsevolod, a large nest. His family subsequently housed in the cathedral. The history of the cathedral dates back to 1197. Later, the cathedral was consecrated in memory of Dmitry of Thessalonica, who was considered the heavenly patron.

The compositional structure of the cathedral is based on the design features of Byzantine churches. As a rule, these are 4 pillars and 3 apses. The gilded church dome is crowned with a cross. The figure of a dove serves as a weather vane. The walls of the temple attract with images of a mythical nature, saints, and psalms. The miniature of David the musician is a symbol of the state protected by God.

There could not but be an image of Vsevolod the Big Nest here. He was sculpted together with his sons. The interior decoration of the temple is amazing. Despite the fact that many frescoes have been lost, it is still beautiful and solemn here.

The Church of the Savior was built on Mount Nereditsa in just one season in 1198. The temple was erected by decree of Prince Yaroslav Vladimirovich, who ruled Veliky Novgorod at that time. The temple grew up on the elevated bank of the Maly Volkhovets River, not far from the Rurik Settlement.

The church was built in memory of the two sons of Yaroslav Vladimirovich who fell in battle. Externally, the church is not distinguished by majestic superstructures. However, it is an architectural monument. The church was built according to a traditional design for that time. One cubic dome, then, as in other projects, a four-pillar and three-apse version.

The interior of the church is amazing. The walls are completely painted and represent a gallery of Russian painting, one of the most ancient and unique. These paintings were actively studied by scientists in the first third of the last century. Detailed descriptions of the paintings have been preserved, shedding light on the history of the time when the church was erected and on the way of life of the Novgorodians. In 1862, the artist N. Martynov made watercolor copies of the Nereditsky frescoes. They were demonstrated with great success in Paris at the World Exhibition. The sketches were awarded a bronze medal.

These frescoes are a very valuable example of Novgorod monumental painting. Created in the 12th century, they still represent great artistic, and even more so, historical value.

Many consider the Novgorod Kremlin to be the most unique architectural monument. It belongs to one of the oldest monuments. Each city in Rus' erected its own Kremlin. It was a fortress that helped protect residents from enemy raids.

Few Kremlin walls stood. The Novgorod Kremlin has been faithfully serving its residents for the tenth century. This building is the oldest. But she retained her original appearance.

This is why this architectural monument is valuable. The Kremlin was built of red brick; at that time in Rus' the building material was unusual and expensive. But it was not in vain that Novgorod builders used it. The walls of the city did not flinch before the onslaught of many enemy troops.

On the territory of the Novgorod Kremlin stands St. Sophia Cathedral. This is another one of the great architectural monuments of Ancient Rus'. The floor of the cathedral is paved with mosaics. The entire interior is an example of the exquisite craftsmanship of the architects. Every detail, the smallest touch has been worked out.

Residents of the Novgorod land are proud of their Kremlin, believing that it contains an ensemble of architectural monuments that should inspire every Russian.

The Trinity Lavra of St. Sergius is the largest monastery in Russia, which is located in the city of Sergiev Posad in the Moscow region. The founder of the monastery was Sergei of Radonezh. From the day of its foundation, the monastery became the center of the spiritual life of the Moscow lands. Here the army of Prince Dmitry Donskoy received a blessing for the battle with Mamai.

Moreover, Sergius of Radonezh sent into the army the monks Oslyabya and Peresvet, who were distinguished by their zeal in prayer and heroic strength, who showed themselves heroically during the battle of September 8, 1830. For centuries, the monastery was the center of religious education of Russians, as well as the heart of cultural enlightenment.

Many icons were painted in the monastery. This was done by Andrei Rublev and Daniil Cherny, outstanding icon painters. It was here that the well-known Trinity icon was painted. It became an integral part of the monastery iconostasis. Historians call the siege of the monastery by Polish-Lithuanian invaders a test. It was a troubled time. The siege lasted 16 months. The besieged survived and won.

Not all architectural monuments of Ancient Rus' survived and were preserved. There are no traces left of many. But descriptions have been preserved in ancient books. Scientists decipher them and determine their location. Patriots find strength and means and begin to restore ancient buildings. The more actively this work is carried out, the more the greatness of Russia will increase.

Writing and enlightenment[edit | edit code]

The existence of writing among the Eastern Slavs in the pre-Christian period is evidenced by numerous written sources and archaeological finds. The creation of the Slavic alphabet is associated with the names of the Byzantine monks Cyril and Methodius. In the second half of the 9th century, Cyril created the Glagolitic alphabet (Glagolitic), in which the first translations of church books were written for the Slavic population of Moravia and Pannonia. At the turn of the 9th-10th centuries, on the territory of the First Bulgarian Kingdom, as a result of the synthesis of the Greek script, which had long been widespread here, and those elements of the Glagolitic alphabet that successfully conveyed the features of the Slavic languages, the alphabet arose, which was later called the Cyrillic alphabet. Subsequently, this easier and more convenient alphabet supplanted the Glagolitic alphabet and became the only one among the southern and eastern Slavs.

The Baptism of Rus' contributed to the widespread and rapid development of writing and written culture. Of significant importance was the fact that Christianity was accepted in its Eastern, Orthodox version, which, unlike Catholicism, allowed worship in national languages. This created favorable conditions for the development of writing in the native language.

The development of writing in the native language led to the fact that the Russian church from the very beginning did not become a monopolist in the field of literacy and education. The spread of literacy among layers of the urban population is evidenced by birch bark letters discovered during archaeological excavations in Novgorod, Tver, Smolensk, Torzhok, Staraya Russa, Pskov, Staraya Ryazan, etc. These are letters, memos, educational exercises, etc. Writing, therefore, was used not only to create books, state and legal acts, but also in everyday life. Inscriptions on handicraft products are often found. Ordinary townspeople left numerous notes on the walls of churches in Kyiv, Novgorod, Smolensk, Vladimir and other cities. The oldest surviving book in Rus' is the so-called. “Novgorod Psalter” of the first quarter of the 11th century: wooden tablets covered with wax with the texts of Psalms 75 and 76.

Most of the written monuments of the pre-Mongol period were destroyed during numerous fires and foreign invasions. Only a small part of them has survived. The oldest of them are the “Ostromir Gospel”, written by Deacon Gregory for the Novgorod mayor Ostromir in 1057, and two “Izborniki” by Prince Svyatoslav Yaroslavich in 1073 and 1076. The high level of professional skill with which these books were made testifies to the well-established production of handwritten books already in the first half of the 11th century, as well as to the well-established skills of “book construction” by that time.

The correspondence of books was carried out mainly in monasteries. The situation changed in the 12th century, when the craft of “book describers” also arose in large cities. This speaks of the increasing literacy of the population and the increased need for books, which the monastery scribes could not satisfy. Many princes kept book scribes with them, and some of them copied books themselves.

At the same time, the main centers of book production continued to be monasteries and cathedral churches, where there were special workshops with permanent teams of copyists. They not only copied books, but also kept chronicles, created original literary works, and translated foreign books. One of the leading centers of this activity was the Kiev-Pechersk Monastery, in which a special literary movement developed that had a great influence on the literature and culture of Ancient Rus'. As chronicles testify, already in the 11th century in Rus', libraries with up to several hundred books were created at monasteries and cathedral churches.

Needing literate people, Prince Vladimir Svyatoslavich organized the first schools. Literacy was not a privilege only of the ruling class; it also penetrated among the townspeople. Discovered in significant quantities in Novgorod, letters written on birch bark (from the 11th century) contain correspondence of ordinary townspeople; Inscriptions were also made on handicraft products.

Education was highly valued in ancient Russian society. In the literature of that time one can find many eulogies to the book, statements about the benefits of books and “book teaching.”

With the adoption of Christianity, Ancient Rus' was introduced to book culture. The development of Russian writing gradually became the basis for the emergence of literature and was closely connected with Christianity. Despite the fact that writing was known in Russian lands earlier, it was only after the baptism of Rus' that it became widespread. It also received a basis in the form of a developed cultural tradition of Eastern Christianity. Extensive translated literature became the basis for the formation of an improper tradition.

The original literature of Ancient Rus' is characterized by great ideological richness and high artistic perfection. Its prominent representative was Metropolitan Hilarion, the author of the famous “Sermon on Law and Grace,” dating back to the mid-11th century. This work clearly demonstrates the idea of ​​the need for the unity of Rus'. Using the form of a church sermon, Hilarion created a political treatise, which reflected the pressing problems of Russian reality. Contrasting “grace” (Christianity) with “law” (Judaism), Hilarion rejects the concept of God’s chosenness inherent in Judaism and affirms the idea of ​​​​transferring heavenly attention and favor from one chosen people to all humanity, the equality of all peoples.

An outstanding writer and historian was the monk of the Kiev Pechersk Monastery Nestor. His “Reading” about the princes Boris and Gleb and the “Life of Theodosius,” valuable for the history of everyday life, have been preserved. “Reading” is written in a somewhat abstract style; edifying and ecclesiastical elements are strengthened in it. An outstanding monument of ancient Russian chronicle writing, “The Tale of Bygone Years,” dates back to approximately 1113, preserved as part of later chronicle collections of the 14th-15th centuries. This work is compiled on the basis of earlier chronicles - historical works dedicated to the past of the Russian land. The author of the Tale, monk Nestor, managed to vividly and imaginatively tell about the emergence of Rus' and connect its history with the history of other countries. The main attention in the “Tale” is paid to the events of political history, the actions of princes and other representatives of the nobility. The economic life and way of life of the people are described in less detail. The religious worldview of its compiler was also clearly manifested in the chronicle: he sees the final cause of all events and people’s actions in the action of divine forces, “providence.” However, religious differences and references to the will of God often hide a practical approach to reality, the desire to identify real cause-and-effect relationships between events.

In turn, Theodosius, abbot of the Pechersk Monastery about whom Nestor also wrote, wrote several teachings and messages to Prince Izyaslav.

An outstanding writer was Vladimir Monomakh. His “Instruction” painted an ideal image of a prince - a just feudal ruler, and touched upon pressing issues of our time: the need for strong princely power, unity in repelling the raids of nomads, etc. “Instruction” is a work of a secular nature. It is imbued with the spontaneity of human experiences, alien to abstraction and filled with real images and examples taken from life.

The question of princely power in the life of the state, its responsibilities and methods of implementation becomes one of the central ones in literature. The idea arises of the need for strong power as a condition for successfully fighting external enemies and overcoming internal contradictions. These reflections are embodied in one of the most talented works of the 12th-13th centuries, which has come down to us in two main editions, “The Lay” and “Prayer” by Daniil Zatochnik. A staunch supporter of strong princely power, Daniil writes with humor and sarcasm about the sad reality surrounding him.

A special place in the literature of Ancient Rus' is occupied by “The Tale of Igor’s Campaign,” dating back to the end of the 12th century. It tells about the unsuccessful campaign against the Polovtsians in 1185 by the Novgorod-Seversk prince Igor Svyatoslavich. The description of this campaign serves the author only as a reason for thinking about the fate of the Russian land. The author sees the reasons for the defeats in the fight against the nomads, the reasons for the disasters of Rus' in princely civil strife, in the selfish policies of princes thirsting for personal glory. Central to the Lay is the image of the Russian land. The author belonged to the druzhina environment. He constantly used the inherent concepts of “honor” and “glory,” but filled them with broader, patriotic content. “The Tale of Igor’s Campaign” embodied the characteristic features of ancient Russian literature of that time: a living connection with historical reality, citizenship and patriotism.

Batu's invasion had a great influence on Russian culture. The first work dedicated to the invasion is “The Word of the Destruction of the Russian Land.” This word has not reached us completely. Also dedicated to Batu’s invasion is “The Tale of the Ruin of Ryazan by Batu” - an integral part of a cycle of stories about the “miraculous” icon of St. Nicholas of Zaraisky.

Architecture[edit | edit code]

Until the end of the 10th century, there was no monumental stone architecture in Rus', but there were rich traditions of wooden construction, some forms of which subsequently influenced stone architecture. Significant skills in the field of wooden architecture led to the rapid development of stone architecture and its originality. After the adoption of Christianity, the construction of stone churches began, the construction principles of which were borrowed from Byzantium. The Byzantine architects summoned to Kyiv passed on to the Russian craftsmen their extensive experience in the building culture of Byzantium.

The large churches of Kievan Rus, built after the adoption of Christianity in 988, were the first examples of monumental architecture in East Slavic lands. The architectural style of Kievan Rus was established under the influence of Byzantine. Early Orthodox churches were mainly made of wood.

The first stone church of Kievan Rus was the Tithe Church in Kyiv, the construction of which dates back to 989. The church was built as a cathedral not far from the prince's tower. In the first half of the 12th century. The church has undergone significant renovations. At this time, the southwestern corner of the temple was completely rebuilt; a powerful pylon supporting the wall appeared in front of the western facade. These activities most likely represented the restoration of the temple after a partial collapse due to an earthquake.

St. Sophia Cathedral in Kyiv, built in the 11th century, is one of the most significant architectural structures of this period. Initially, St. Sophia Cathedral was a five-nave cross-domed church with 13 chapters. It was surrounded on three sides by a two-tier gallery, and outside by an even wider single-tier one. The cathedral was built by Constantinople builders, with the participation of Kyiv craftsmen. At the turn of the 17th-18th centuries, it was externally rebuilt in the Ukrainian Baroque style. The temple is included in the UNESCO World Heritage List.

Painting[edit | edit code]

After the baptism of Rus', new types of monumental painting came from Byzantium - mosaics and frescoes, as well as easel painting (icon painting). Also, the iconographic canon was adopted from Byzantium, the immutability of which was strictly protected by the church. This predetermined a longer and more stable Byzantine influence in painting than in architecture.

The earliest surviving works of ancient Russian painting were created in Kyiv. According to the chronicles, the first temples were decorated by visiting Greek masters, who added to the existing iconography a system for arranging subjects in the interior of the temple, as well as a style of planar writing. The mosaics and frescoes of the St. Sophia Cathedral are known for their special beauty. They are executed in a strict and solemn manner, characteristic of Byzantine monumental painting. Their creators skillfully used a variety of smalt shades and skillfully combined mosaics with frescoes. Of the mosaic works, the images of Christ Pantocrator in the central dome are especially significant. All images are permeated with the idea of ​​greatness, triumph and inviolability of the Orthodox Church and earthly power.

Another unique monument of secular painting of Ancient Rus' is the painting of the walls of the two towers of the Kyiv Sophia. They depict scenes of princely hunting, circus competitions, musicians, buffoons, acrobats, fantastic animals and birds, which somewhat distinguishes them from ordinary church paintings. Among the frescoes of Sofia are two group portraits of the family of Yaroslav the Wise.

In the XII-XIII centuries, local characteristics began to appear in the painting of individual cultural centers. This is typical for the Novgorod land and the Vladimir-Suzdal principality. Since the 12th century, a specific Novgorod style of monumental painting has been formed, which reaches a more complete expression in the paintings of the churches of St. George in Staraya Ladoga, the Annunciation in Arkazhi and especially Spas-Nereditsa. In these fresco cycles, in contrast to the Kyiv ones, there is a noticeable desire to simplify artistic techniques and expressive interpretation of iconographic types. In easel painting, Novgorod features were less pronounced.

In Vladimir-Suzdal Rus' of the pre-Mongol period, fragments of frescoes from the Dmitrievsky and Assumption Cathedrals in Vladimir and the Church of Boris and Gleb in Kideksha, as well as several icons, have been preserved. Based on this material, researchers consider it possible to talk about the gradual formation of the Vladimir-Suzdal school of painting. The best preserved fresco of the Demetrius Cathedral depicting the Last Judgment. It was created by two masters - a Greek and a Russian. Several large icons of the 12th - early 13th centuries belong to the Vladimir-Suzdal school. The earliest of them is the “Our Lady of Bogolyubsk”, dating from the mid-12th century, stylistically close to the famous “Our Lady of Vladimir”, which is of Byzantine origin.

Folklore[edit | edit code]

Written sources testify to the richness and diversity of the folklore of Ancient Rus'. A significant place in it was occupied by calendar ritual poetry: incantations, spells, songs that were an integral part of the agrarian cult. Ritual folklore also included pre-wedding songs, funeral laments, songs at feasts and funeral feasts. Mythological tales reflecting the pagan ideas of the ancient Slavs also became widespread. For many years, the church, trying to eradicate the remnants of paganism, waged a stubborn struggle against “filthy” customs, “demonic games” and “blasphemous things”. However, these types of folklore survived in folk life until the 19th-20th centuries, losing their initial religious meaning over time, and the rituals turned into folk games.

There were also forms of folklore that were not associated with the pagan cult. These include proverbs, sayings, riddles, fairy tales, and work songs. Authors of literary works widely used them in their work. Written monuments have preserved numerous traditions and legends about the ancestors of tribes and princely dynasties, about the founders of cities, about the fight against foreigners. Thus, folk tales about the events of the 2nd-6th centuries were reflected in “The Tale of Igor’s Campaign.”

In the 9th century, a new epic genre arose - the heroic epic, which became the pinnacle of oral folk art and a consequence of the growth of national self-awareness. Epics are oral poetic works about the past. The epics are based on real historical events; the prototypes of some epic heroes are real people. Thus, the prototype of the epic Dobrynya Nikitich was the uncle of Vladimir Svyatoslavich - governor Dobrynya, whose name is repeatedly mentioned in ancient Russian chronicles.

In turn, in the military class, in the princely-squad environment, there was its own oral poetry. The princes and their exploits were glorified in squad songs. The princely squads had their own “song makers” - professionals who composed “glory” songs in honor of the princes and their warriors.

Folklore continued to develop after the spread of written literature, remaining an important element of ancient Russian culture. In subsequent centuries, many writers and poets used the themes of oral poetry and its arsenal of artistic means and techniques. The art of playing the harp, of which it is the birthplace, was also widespread in Rus'.

Arts and crafts[edit | edit code]

Kievan Rus was famous for its masters in applied and decorative arts, who were fluent in various techniques: filigree, enamel, granulation, niello, as evidenced by jewelry. It is no coincidence that the admiration of foreigners for the artistic creativity of our craftsmen was great. L. Lyubimov in his book “The Art of Ancient Rus'” gives a description of star-shaped silver colts from the Tver treasure of the 11th–12th centuries: “Six silver cones with balls are soldered to the ring with a semicircular shield. Each cone is soldered with 5000 tiny rings with a diameter of 0.06 cm from wire 0.02 cm thick! Only microphotography made it possible to establish these dimensions. But that's not all. The rings serve only as a pedestal for the grain, so each one has another silver grain with a diameter of 0.04 cm!” Jewelry was decorated with cloisonne enamel. The craftsmen used bright colors and skillfully selected colors. The drawings traced mythological pagan subjects and images, which were especially often used in applied art. They can be seen on carved wooden furniture, household utensils, gold-embroidered fabrics, and carved bone products, known in Western Europe as “Taurian carving”, “Rus carving”.

Clothes[edit | edit code]

Modern researchers have numerous evidence about how princes and boyars dressed. Verbal descriptions, images on icons, frescoes and miniatures, as well as fragments of fabrics from sarcophagi have been preserved. Various researchers in their works compared these materials with mentions of clothing in written documentary and narrative sources - chronicles, lives and various acts.

See also[edit | edit code]

• List of ancient Russian architectural structures of the pre-Mongol period
• Cross-domed churches of Ancient Rus'
• Russian icon painting
• Old Russian facial sewing

Literature[edit | edit code]

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Russian State University named after. I. Kant

History department

Preserved architectural monuments of Ancient Rus' of the 11th - early 13th centuries.

Historical reference,

completed by a student I course

specialty "history"

Dolotova Anastasia.

Kaliningrad

Introduction

The purpose of this work is to consider the surviving monuments of ancient Russian architecture and give them a brief description.

When choosing architectural monuments for inclusion in the historical reference, the main criterion was the degree of preservation of the structure, because many of them either came to us heavily altered and did not retain their original appearance, or retained only some of their fragments.

Main tasks of the work:

Identify the number of surviving architectural monuments of Ancient Rus' of the 11th - early 13th centuries;

Give a description of their special and specific architectural features;

Assess the historical fate of monuments.

St. Sophia Cathedral (Kyiv)

Time of creation: 1017-1037

The temple is dedicated to Sophia - “The Wisdom of God”. It belongs to the works of Byzantine-Kyiv architecture. Saint Sophia is the main religious building of Kievan Rus during the times of Yaroslav the Wise. Construction equipment and architectural features of the cathedral indicate that its builders were Greeks who came from Constantinople. They built the temple according to models and according to the traditions of metropolitan Byzantine architecture, albeit with some deviations. The temple was built using the mixed masonry technique: rows of square bricks (plinths) alternate with rows of stones, and then covered with limestone coating - plaster. The interior of Sophia of Kyiv was less distorted and retained some of its original decoration. The earliest mosaics and frescoes have been preserved in the temple. They were also made by Byzantine masters. Scrawled inscriptions - graffiti - were found on the walls of the cathedral. About three hundred graffiti testify to political events of the past, they mention specific historical figures. The earliest inscriptions made it possible for researchers to clarify the dating of the interior decoration of the church. Sofia became the burial place of the Kyiv princes. Yaroslav the Wise, his son Vsevolod, as well as the sons of the latter, Rostislav Vsevolodovich and Vladimir Monomakh, are buried here. The question of why members of the same family were buried in different churches - in Sofia and in Desyatinnaya - has not received a convincing answer from historians. St. Sophia Cathedral was assigned the role of the main temple of Kievan Rus and the stronghold of the new, Christian faith. For several centuries, Sophia of Kiev was the center of the all-Russian ecclesia, the center of the political and cultural life of the country. Sophia was originally crowned with thirteen chapters, forming a pyramidal structure. Now the temple has 19 domes. In ancient times, the roof consisted of lead sheets laid on the vaults. At the corners the temple is reinforced with buttresses - vertical supports on the outside of the wall that take on its weight. The facades of the cathedral are characterized by an abundance of blades, which correspond to the internal division of space by supporting pillars. The outer walls of the galleries and apses are decorated with numerous niches. On the western side, according to Byzantine tradition, two staircase towers adjoin the temple, leading to the choir and flat roof - the gulbische. During the service, the choirs were intended for the Grand Duke, his family and associates. However, they also had a secular purpose: here the prince, apparently, received ambassadors and discussed state affairs. The book collection of St. Sophia Cathedral was also kept here. Perhaps there was also a scriptorium in a separate room - a workshop for copying books. The interior of the cathedral was an equal-ended cross, with an altar apse in the east; there were two-tier arcades to the north, south and west. The central dome rose above the middle part of the cross. The main volume of the building was surrounded by two rows of open galleries. The question of the interior decoration of the western part of the main nave acquires fundamental significance in connection with the study of the ktitor fresco depicting the family of Yaroslav the Wise, located on the western wall of the two-tier arcade. Over the centuries, the church has undergone many changes. During the defeat of Kyiv by Batu in 1240, it was plundered. Subsequently, the temple burned down several times, gradually fell into disrepair, and was subjected to “repairs” and alterations. In the 17th century, Sofia was “renovated” by Metropolitan Peter Mogila in the Ukrainian Baroque style and its appearance became very far from the original. The eastern facade with apses, where fragments of ancient masonry were cleared, survived best of all.

Spaso-Preobrazhensky Cathedral (Chernigov)

Creation time: around 1036

Mstislav Vladimirovich founded the Transfiguration Cathedral in Chernigov. This five-domed cathedral was built according to the Byzantine model, and most likely by Byzantine stone craftsmen.

In plan, the cathedral is a large (18.25 x 27 m) three-nave church with eight pillars and three apses. The western pair of pillars is connected by a wall, which led to the emergence of a porch (narthex). The height of the walls reached approximately 4.5 m. The facades of the building are made of extremely elegant brickwork with a hidden row. The facades are also decorated with pilasters, flat in the first tier and profiled in the second. The facades of the temple are divided by flat blades. The middle zakomars, which contain three windows, are sharply raised compared to the side ones. The interior of the Spassky Cathedral is dominated by a strict and solemn combination of verticals and horizontals. The elongation of the building is clearly emphasized here, which is combined with internal two-tier arcades extending into the dome space. Along them were originally wooden floorings of the northern and southern choirs, reinforcing the horizontal division of the interior. The floor of the temple was covered with carved slate slabs inlaid with colored smalt.

Saint Sophia Cathedral (Polotsk)

Creation time: 1044-1066

Built under Prince Vseslav Bryachislavich on the territory of the Upper Castle. Information about the original appearance is contradictory: in some sources it is mentioned as seven-headed, in others - as five-headed. The masonry of the eastern apse of ancient Sofia is mixed: along with flagstone bricks (plinth), rubble stone was used. The surviving fragments suggest that in the past this building was a centric structure. Its square plan was divided into five naves, covered with an elaborate vaulting system. The selection of three middle naves created the illusion of elongation of the interior of the cathedral and brought it closer to the basilica buildings. The construction of three apses, faceted on the outside, so typical of wooden churches, is one of the features of the Polotsk Cathedral. St. Sophia Cathedral is the first and still timid example of a structure that displays features characteristic of the art of Polotsk, where mainly in the 12th century. Numerous buildings appeared with an original interpretation of the cross-dome system.

St. Sophia Cathedral (Novgorod)

Time of creation: 1045-1050.

The temple was built by order of the Novgorod prince Vladimir Yaroslavich. It is a huge five-nave temple dissected by pillars, adjoined on three sides by open galleries. The cathedral has five chapters. The sixth dome above the round staircase introduced a picturesque asymmetry into the composition. Large protrusions of the blades strengthen the walls of the building vertically and delimit the facades in full accordance with the internal divisions. The masonry mainly consisted of huge, roughly hewn stones that did not have a regular square shape. The lime mortar, pinkish from the admixture of finely crushed bricks, fills the recesses along the contours of the stones and emphasizes their irregular shape. Brick is used in small quantities, so the impression of “striped” masonry from regularly alternating rows of plinths is not created. The walls of the Novgorod Sofia, apparently, were not initially plastered. Such open masonry gave the facades of the building a peculiar, rugged beauty. In the first centuries of its existence, the temple was higher than it is today: the original floor level is now at a depth of 1.5 - 1.9 meters. The facades of the building also go to the same depth. In Novgorod Sofia there are no expensive materials: marble and slate. The Novgorodians also did not use mosaics to decorate their cathedral church because of its high cost, but Sofia is richly decorated with frescoes.

St. Michael's Cathedral of the Vydubetsky Monastery (Kyiv)

Creation time: 1070-1088

In Vydubitsy, the son of Yaroslav the Wise, founded a monastery under family patronage in the name of his heavenly patron - Archangel Michael. Thanks to his support, the monastery cathedral was erected. In the 11th century, St. Michael's Cathedral was a large (25 x 15.5 m) six-pillar temple with unusually elongated rectangular proportions. The craftsmen who worked in Kyiv at that time carried out masonry mainly from brick with rows of large uncut stones. The stones were located at different distances from each other, the larger ones were used in the middle parts of the walls, laying them as backfill together with bricks (mostly broken). The brickwork itself had a hidden row. With this type of masonry, not all rows of bricks are brought out onto the facade, but through a row, while the intermediate ones are moved a little deeper and covered from the outside with a layer of mortar - cement. The outer layer of the solution was carefully smoothed, almost polished. Thus, the processing of the outer surface of the walls was carried out twice: first rough, and then more thorough. The result was an extremely picturesque striped surface structure. This masonry system also provided ample opportunities for decorative designs and patterns. Initially, the church apparently ended with one chapter. To the west there was a wide narthex and a spiral staircase leading to the choir. The walls of the cathedral were painted with frescoes, and the floor was tiled - slate and glazed clay. To protect the church from being washed away by the waters of the Dnieper, in 1199 the architect Peter Miloneg erected a huge retaining wall. For its time, this was a bold engineering decision. But by the 16th century, the river also washed away the wall - the bank collapsed, and with it the eastern part of the cathedral. The surviving western part of the church has survived to this day in the restoration of 1767-1769. St. Michael's Cathedral became the princely tomb of the family of Vsevolod Yaroslavovich.

Assumption Cathedral of the Kiev-Pechersk Monastery

Time of creation: 1073-1078.

The cathedral was built by Byzantine architects. According to its plan, it is a cross-domed, three-nave, six-pillar church. In this monument, the desire to create simple volumes and laconicism in the interior prevailed. True, the narthex still remains, but the choir is no longer led to by a spiral staircase in a specially built tower, but by a straight staircase in the thickness of the western wall. The temple ended with zakomars, the bases of which were located at the same height and crowned with one massive dome. The construction technique also changed: instead of masonry with a hidden row, they began to use equal-layer plinth with all rows of plinth exposed to the outer surface of the wall. Based on written sources, one can draw a conclusion about one exceptional feature of the Assumption Cathedral: the general dimensions of the temple were set in advance and the builders were forced to perform the difficult work of calculating the size of the dome. Its diameter had to be increased to maintain the proportions of the entire structure. From 1082 to 1089, Greek craftsmen painted the temple with frescoes and decorated it with mosaics. According to church legend, the ancient Russian icon painters, the famous Alypius and Gregory, worked together with them.

In 1240, the temple was damaged by the Mongol-Tatar hordes, in 1482 by the Crimean Tatars, and in 1718 the building was badly damaged during a huge monastery fire. In 1941, the Assumption Cathedral was blown up by German troops occupying Kyiv. By 2000, the building was rebuilt in Baroque forms of the 18th century.

St. Nicholas Cathedral (Novgorod)

Time of creation: 1113-1136.

The temple was erected by order of the son of Vladimir Monomakh - Mstislav. The cathedral was a palace temple: its clergy were subordinate not to the Novgorod ruler, but to the prince. The St. Nicholas Cathedral occupies the main place in the architectural ensemble of the Novgorod Torg, where nine more churches are located. St. Nicholas Church is a large ceremonial building (23.65 x 15.35 m) with five domes and high apses, which is a trace of a clear imitation of Sophia in the city Kremlin. The facades of the church are simple and austere: they are divided by flat blades and finished with artless zakomaras. In its layout, the temple is close to such a Kyiv monument as the Cathedral of the Pechersk Monastery: six cross-shaped pillars divide the internal space into three naves, of which the middle one is much wider than the side ones. In the western part of the church there are extensive choir-halls for the princely family and palace entourage. Soon after its construction, the St. Nicholas Cathedral was painted with frescoes. Only small fragments of the painting have survived: scenes of the “Last Judgment” on the western wall, three saints in the central apse and “Job on the rot” on the southwestern wall. Stylistically, they are close to the Kyiv murals of the early 12th century.

Nativity Cathedral of the Anthony Monastery (Novgorod)

Creation time: 1117

In 1117, a stone cathedral was erected in the monastery in honor of the Nativity of the Virgin Mary. Stone craftsmen erected buildings from local cheap, roughly processed stone, binding it with limestone mortar mixed with crushed brick. Uneven walls were leveled using brick layers made of plinth. The most structurally important parts of the temple (vaults, girth arches, arched lintels) were laid out mainly from plinth using the masonry technique with a hidden row. A cylindrical staircase tower protruding from the general cubic volume was added to the church from the north-western corner, leading to the choir, which was later hewn down. The tower is crowned by a chapter. The cathedral has three chapters in total. The original appearance of the Nativity Cathedral differed from its modern appearance. Low porch galleries were attached to the ancient church on three sides. Inside the cathedral, mainly in the altar, fragments of frescoes from 1125 have been preserved. The cathedral is brought closer to the princely traditions of temple architecture by the proportions of the plan, the tower with a spiral staircase adjacent to the northwestern corner, the raised choir and the overall inflated volume of the building.

St. George's Cathedral of the Yuryev Monastery (Novgorod)

Creation time: 1119

The temple was built through the efforts of Vsevolod Mstislavich. The name of the creator of the temple has also been preserved - he was “Master Peter”. This is a six-pillar temple with choirs, which are reached by a staircase tower. The forms of the temple are simple and uncomplicated, but it looks very impressive. The cathedral has three asymmetrically located chapters. One of them is located on a square tower attached to the main building. The heads of the church are shifted to the west, which is completely uncharacteristic of Orthodox churches. The walls of the cathedral are built on cement mortar from barely hewn stones, which alternate with rows of bricks. The accuracy of the rows is not maintained: in some places the bricks fill irregularities in the masonry and in places are placed on edge.

The top of the church was covered with lead sheets. The cathedral is virtually devoid of decor, except for laconic flat niches. On the central drum they are inscribed in an arcature belt. The interior of the cathedral impresses with its grandeur and the solemn upward direction of the temple space. Cross-shaped pillars, arches and vaults are so tall and slender that they are not perceived as load-bearing supports and ceilings.

Soon after its construction, the temple was richly painted with frescoes, which have not survived to our time.

John the Baptist Church on Opoki (Novgorod)

Time of creation: 1127-1130.

The church was initiated by Prince Vsevolod Mstislavich, the grandson of Vladimir Monomakh.

This is a six-pillar, three-apse church with one dome. The design of the temple revealed new trends in Novgorod temple construction: reducing the scale of construction and simplifying architectural forms. However, St. John's Church still retains the traditions of ceremonial princely architecture of the early 12th century. Its length is 24.6 m and its width is 16 m. It had a choir, which was reached by stairs, apparently in a tower located in one of the western corners of the building. The walls are made of gray limestone slabs and plinths, that is, using mixed masonry techniques. The Church of John the Baptist in its upper part evokes associations with wooden architecture: it has a gable (gable) zakomara shape. The upper part of the church was dismantled in 1453, and a new church was erected on the old foundation by order of Archbishop Euthymius. The ancient temple reflects the historical struggle of the Novgorodians with the princely power. Six years after the illumination of the church, in 1136, massive popular unrest broke out, which led to the establishment of a feudal republic. The Novgorod prince, ktitor of the temple Vsevolod Mstislavich, was captured. The veche decided to expel Vsevolod and his family from the city. Prince Vsevolod was forced to transfer the church to St. John the Baptist on Opoki to wax merchants. John's parish was made up of the richest merchants - eminent people. All-Novgorod standards of measures were kept in the church: “Ivanovo cubit” for measuring the length of cloth, “ruble hryvnia” for precious metals, waxed skalvas (scales), etc.

Peter and Paul Church (Smolensk)

Time of creation: 1140-1150.

The Church of Peter and Paul is the most ancient temple preserved in Smolensk. Apparently, it was erected by a princely artel. The original forms of the building were restored by P. D. Baranovsky. The church is an example of a cross-domed, single-domed, four-pillar building. Smolensk craftsmen built from bricks. In its external forms and proportions, the temple is static, strict and monumental. But thanks to the “flexible”, workable brick, the plastic of the princely church is complex and sophisticated. The blades are turned into semi-columns (pilasters), which end with two rows of curbs and overhanging cornices. The same double rows of curbs are used to make belts at the base (heels) of the zakomari, below which the arcature is laid. On the western facade, wide corner blades are decorated with runners and relief crosses made of plinth. The entrance to the church is opened by promising portals, but they are still made very modestly - only from rectangular rods. The temple has powerful, far protruding apses. The head drum was twelve-sided.

Spaso-Preobrazhensky Cathedral (Pereslavl-Zalessky)

Time of creation: 1152-1157.

Prince Yuri Dolgoruky founded the Transfiguration Cathedral in the city of Pereslavl-Zalessky, which he founded. The upper part of the temple was completed by his son Andrei Bogolyubsky. The width of the temple is greater than its height. This is an almost square, three-apse temple with four cross-shaped pillars that support the vaults and a single dome. The side apses were not closed by the altar barrier, but were freely open to the eyes of the worshipers. Its forms are laconic and strict. The massive drum and dome give the structure a military appearance. The narrow slit-like windows of the drum are associated with fortress loopholes. Its walls, divided by blades into spindles, are completed with zakomaras, the central ones of which are larger than the side ones. The building has a very clear plan layout.

The temple is made of carefully crafted white stone squares. The stones were laid almost dry, filling the gap between the inner and outer walls with rubble, and then filled with lime. A basement runs along the bottom of the building. The foundation of the building consists of large cobblestones held together with the same limestone mortar. The outer surface of the vaults, the dome and the pedestal under the drum are made of rough stone blocks. Along the top of the drum there is a decorative belt, which has survived only in fragments: most of it was knocked down and replaced by restorers with a remake. Below there is a crenate strip, above there is a runner, and even higher there is an ornamented half-shaft. A distinctive feature of the Spassky Church is the minimal use of decor, which found its place only on the drum and on the apses.

Assumption Cathedral (Vladimir)

Creation time: 1158-1160

The cathedral was founded by Prince Andrei Bogolyubsky. The most advantageous place in the city’s landscape was chosen for the cathedral church, over which the five-domed bulk of the temple dominates. Its golden domes were visible from afar on the forest roads leading to the capital city. It was built in the form of a six-pillar, three-nave and one-domed building. It was conceived as the main temple of all Rus'. Masters of various branches of art were invited from different countries of Western Europe to paint the temple. In 1185, the temple suffered a severe and destructive fire, in which almost half the city burned out. Apparently, immediately after the fire, Prince Vsevolod the Big Nest ordered the restoration of the cathedral. In 1189 it was re-consecrated. During the restoration, the temple was significantly expanded and made five-domed. The temple was surrounded by wide galleries from the south, north and west and received more extensive altar apses, a gilded central and silver-plated side domes, and its top received two tiers of zakomaras. The walls of the temple were cut through with arched spans and turned into the internal pillars of the new cathedral of Grand Duke Vsevolod III. Fragments of frescoes by unknown masters of the 12th century have been preserved. The Assumption Cathedral served as a princely necropolis. The great Vladimir princes are buried here: Andrei Bogolyubsky, his brother Vsevolod III the Big Nest, Alexander Nevsky's father Yaroslav and others. The cathedral, together with the St. George's chapel, is the main operating church of the Vladimir-Suzdal Diocese.

Assumption Cathedral (Vladimir-Volynsky)

Creation time: 1160

The cathedral was built by order of Prince Mstislav Izyaslavich, but not in Detinets, but in a roundabout town. To build the cathedral, the prince brought Pereyaslavl architects to Vladimir, since before that he ruled in Pereyaslavl-Russian. The work of craftsmen from this city is confirmed by a special technique for molding bricks. They are of very high quality: good firing and great strength. The church was built using the technique of equal-layer masonry. The thickness of the mortar joints is approximately equal to the thickness of the bricks. There are channels in the walls from rotten wooden ties. The Assumption Cathedral is a large six-pillar, three-apse temple. Its narthex is separated by a wall from the main room. For the sake of strict symmetry and balance of all the masses of the building, it did not have any extensions or even a tower leading to the choir. They were apparently approached along a wooden walkway from the prince's palace. The internal division of the space with supporting pillars corresponds to powerful semi-columns on the facades, and the walls are completed with arches-zakomars corresponding to semi-circular vaults. The temple in Vladimir was built in the image and likeness of the cathedrals in Kyiv. The cathedral was damaged many times and was robbed more than once. In the 18th century, during perestroika, it was greatly distorted. The Cathedral of the Assumption of Our Lady in Vladimir-Volynsky is the largest temple of this type among all monuments of the 12th century.

John the Evangelist Church (Smolensk)

Time of creation: 1160-1180.

The temple was erected through the efforts of Prince Roman Rostislavovich. It was located in the princely residence. Built, like many other Smolensk churches, of brick, the church in its technical and design features is in many ways close to the Peter and Paul Church. Of interest in the architectural composition of the monument is the arrangement of external aisles-tomb vaults along its eastern corners. In the masonry of the upper parts of the building, two types of pots were used: imported amphorae and locally produced narrow-necked pots. On the outside corners of the temple there are wide flat blades, and the intermediate pilasters were in the form of powerful semi-columns. The portals and window embrasures have a two-ledged profile. The dimensions of the temple are 20.25 x 16 m. The walls of the temple and galleries are made of bricks. Lime mortar mixed with cement. The foundation is made of cobblestones and has a depth of more than 1.2 m. The church is a four-pillar, three-apse temple. The Princely Ioannovskaya Church was painted with frescoes, and the icons, according to the Ipatiev Chronicle, were generously decorated with enamel and gold. During its long existence, the church underwent numerous reconstructions and has reached our time in a greatly altered form.

Golden Gate (Vladimir)

Creation time: 1164

The date of foundation of the Vladimir Gate is unknown, but construction began no earlier than 1158, when Andrei Bogolyubsky began to build the city’s defense line. The completion of the gate's construction can be precisely dated to 1164. The gate is made of beautifully hewn limestone squares. However, in some places roughly processed porous tuff is used. The holes from the fingers of the scaffolding were left unfilled in the masonry. The original height of the passage arch reached 15 m; Currently, the ground level is almost 1.5 m higher than the original one. The width of the arch is precisely measured at 20 Greek feet (about 5 m), which suggests that the monument was erected by builders from Byzantium.

St. George's Church (Staraya Ladoga)

Creation time: 1165

The Church of St. George may have been built in honor of the victory in 1164 of the Ladoga residents and the Novgorod squad over the Swedes by Prince Svyatoslav or mayor Zakhary. The area of ​​this four-pillar temple is only 72 square meters. meters. The eastern side of the elongated cube is occupied by three high apses reaching to the zakomari. The cubic volume of the building is dissected by simple and massive blades. A light drum with a helmet-shaped dome crowns the overall mass of the church. Its height is 15 meters. Instead of choirs, a wooden flooring was made connecting two chapels in the corner parts of the second tier. The facades with semicircles of zakomaras are dissected by blades. The decor on the facades of the temple was extremely sparse and was limited to a jagged cornice along the contour of the zakomara (the cornice was not restored during the restoration) and a flat arcature along the top of the drum. The foundation of the Staraya Ladoga monument consists of boulders and goes 0.8 in depth meters. A leveling layer of bricks is laid on top of the foundation. The walls of the temple are made of alternating rows of limestone slabs and bricks, but slabs predominate. The masonry mortar is lime with cement. The frescoes of the drum, dome, southern apse and individual fragments in other places have survived to this day. In the Old Ladoga church we see complete correspondence between the external appearance and interior of the building. Its overall design is clearly and clearly visible.

Elias Church (Chernigov)

Creation time: around 1170

According to church tradition, the founding of the monastery in the name of Elijah is associated with Anthony of Pechersk, the first abbot of the Kiev-Pechersk Monastery. In 1069, he intervened in the Kyiv dynastic feuds of the princes and fled from the wrath of Izyaslav Yaroslavich to Chernigov. Here, having settled on the Boldinsky Mountains, Anthony “excavated a cave,” which served as the beginning of a new monastery. The Ilyinsky Temple is well preserved, but its original forms are hidden under the stylistic layers of the Ukrainian Baroque of the 17th century. The Ilyinsky Church is located on a small area under the slope of the mountain and is connected by an underground passage with the Ilyinsky cave monastery. The northern wall was cut into the slope of the mountain, that is, it was like a retaining wall and in the lower part was placed close to the ground. Above ground level, its masonry is made, like the masonry of the other walls, with careful jointing and one-sided cutting of the seams. For pilgrims, an entrance to the caves was dug in the northern wall, and for the clergy, the same entrance led from the altar. The church is pillarless, with a separate porch (narthex) adjoining it to the west. Initially, the church had one dome, and the supporting arches on which the drum rested were cut into the thickness of the walls. In terms of plan, the Elias Church is not very large in size (4.8 x 5 m) with one semicircular apse, a narrow vestibule and a shallow babinets. Elias Church is the only surviving single-nave building belonging to the Chernigov school of architecture from the era of political fragmentation.

Boris and Gleb Church (Grodno)

Time of creation: 1170s.

The church in the name of the ancient Russian holy passion-bearers Boris and Gleb was erected over the Neman. The names of the saints coincide with the names of the Grodno appanage princes Boris and Gleb. Apparently, the initiators of the construction of the temple could have been either themselves or their father, Vsevolod. Monumental construction in Grodno was carried out by craftsmen who arrived from Volyn. The length of the cathedral is about 21.5 meters, width - 13.5 meters. The thickness of the walls is at least 1.2 meters. The temple was built of brick using cement masonry technique. Flagstone bricks were used. The composition of the cement was special: it included lime, coarse sand, coal and broken brick. The walls are laid in equal layers - all rows of bricks face the facade evenly, and the seams are approximately equal to the thickness of the brick. In the interior of the church, the patterned floor covering made of ceramic tiles and polished stones is of particular value. The walls, built from plinth, are decorated with complex patterns of multi-colored granite stones, colored majolica tiles, and even greenish saucers and bowls. For a special acoustic effect, so-called “voices” - clay vessels like jugs - are built into the walls. Polished stones of various shades are inserted into the wall. At the bottom of the wall they are larger, and at the top they are small. Grodno Church has six pillars and three apses. The pillars of the temple are round at the base, and at high altitudes they take on a cross-shaped form.

Church of the Annunciation in Arkazhi (Novgorod)

Creation time: 1179

According to legend, the temple was erected in memory of the victory of the Novgorodians over the Suzdalians in 1169, achieved thanks to the miraculous intercession of the “Our Lady of the Sign” icon. The temple is square in plan with three apses on the eastern side and four rectangular pillars that supported a single dome. In the volumetric-spatial structure of the Annunciation Church, the tendency of Novgorod architecture of the last quarter of the 12th century towards simplified architectonics, reduction of internal space and saving of building materials is noticeable. The temple is cross-domed with one light dome, which is supported by pillars of rectangular cross-section. The eastern, altar side consists of three apses. Initially, the construction had a post-mosquito completion. The Arkazhskaya church is built of limestone slabs, fastened with cement, and the most important places are made of brick: vaults, drum, dome. In the left aisle, an ancient font for performing the sacrament of baptism (similar in structure to the “Jordan”) has been preserved. A round pond with a diameter of about 4 meters was laid out in the stone floor, apparently designed for adults. In 1189 the temple was painted.

Michael the Archangel Svirskaya Church (Smolensk)

Time of creation: 1180-1197

The majestic church in the name of Michael is once the court temple of the Smolensk prince David Rostislavich. It is located on the western outskirts of Smolensk, on a hill overlooking the Dnieper floodplain. Smolensk masters at the end of the 12th century developed compositional schemes for brick construction characteristic of their time. The extremely high height of the main volume is emphasized by the massive vestibules and central apse subordinate to it. The dynamics of the building are enhanced by complexly profiled beam pilasters. A distinctive feature of this church is the rectangular side apses. Massive narthexes are also unusual. In the Church of the Archangel Michael, square holes were discovered in the masonry of the walls and pillars - the exit points of the once existing wooden ties that strengthened the upper part of the temple. Judging by these holes, the wooden beams were arranged in four tiers. The temple vaults were completely rebuilt in the 17th-18th centuries, but almost all the ancient arches that separated the vaults, including the girth ones, were preserved. Both the pedestal under the drum and a significant part of the drum itself survived. The Church of the Archangel Michael is unusual in its general architectural design, proportions, and forms, which gives it exceptional originality. The centric stepped composition of the temple became widespread in other local schools of architecture of Ancient Rus'. The Svirskaya Church has something in common with the Pyatnitsky churches in Chernigov and Novgorod.

Dmitrovsky Cathedral (Vladimir)

Creation time: 1194-1197

Cross-shaped pillars are carved to the height of the walls and support the massive head of the cathedral. On the interior walls, the pillars correspond to flat blades. On the western side there are choirs.

The temple was built by Grand Duke Vsevolod the Big Nest. The single-domed, four-pillar, three-apse temple was originally surrounded by low covered galleries, and at the western corners it had staircase towers leading to the choir. The sculpture abundantly covers the entire upper tier of the cathedral and the dome drum, as well as the archivolts of the portals. In the arched frieze of the southern façade there were figures of Russian princes, including those of Vladimir. The sculpture of the upper tier of the southern facade also glorifies a wise and strong ruler. The predominance of images of a lion and a griffin in sculpture indicates the further development of the grand ducal emblem. However, the strengthening of symbolism and cosmologism of the entire plan led to a decrease in relief. In the central zakomars there is a figure of a royal singer playing the psalter. The carving of the figure, especially the head, is distinguished by its large height and rounded relief. To the right of David, on the southern façade, is the Ascension of Alexander the Great to Heaven. On the left side of the western façade is King David, followed by Solomon. In the sculpture of the western facade, scenes of the labors of Hercules attract attention. In the central spindle of the upper tier, birds intertwined with their necks refer to the symbolism of an inextricable union. The northern facade facing the city expresses with its sculpture the idea of ​​strong princely power directly, and not symbolically. Prince Vsevolod III himself is depicted on the left side. Complex and varied turns of the figures as if the apostles were talking to each other, the free and at the same time strict drapery of the robes, and most importantly, the deeply psychological interpretation of the images reveal the hand of a great master.

Church of the Savior on Nereditsa (Novgorod)

Creation time: 1198

The Church of the Savior was built by Prince Yaroslav Vladimirovich. According to tradition dating back to Soviet times, the paintings were attributed to local Novgorod masters. Some finds indeed suggest that this master headed the work on creating frescoes in the Church of the Transfiguration. In its architectural appearance, the Savior on Nereditsa no longer differs from the township parish churches of Novgorod. The political and financial position of the prince was so weakened that he did not pretend to compete with the Cathedral Sophia in his construction. By his order, a small cubic type, four-pillar, three-apse, single-domed temple was erected. It is built with stone and brick masonry, traditional for Novgorod architecture. The interior space of the Spasskaya Church is simplified in comparison with the buildings of the previous period - the first third of the 12th century. The princely choir-halls, where two chapels were located, looked quite modest. The staircase in the attached tower was no longer there; it was replaced by a narrow entrance in the thickness of the western wall. During the construction of the building, the accuracy of lines and shapes was not maintained. The excessively thick walls were crooked and the surfaces were uneven. But thoughtful proportions brightened up these shortcomings, and the temple made a dignified, solemnly majestic impression.

Paraskeva Friday Church (Chernigov)

Time of creation: 1198-1199.

The time of construction of the Paraskeva Pyatnitsa Church, as well as the name of its customer, are unknown. Most likely, it was built by merchants with their own money. The dimensions of the church are small - 12 x 11.5 m. The ancient church on the market belongs to the typical small single-domed churches with four pillars. But an unknown architect developed this type of construction, common in the 12th century, in a completely new way. He places the pillars unusually widely, pressing them against the walls, which allows him to maximally expand the central room of the temple and design the corner parts of the facade in a new way, in the form of semi-zakomars, which he makes in a quarter circle. The transition to a high and massive drum is carried out using raised arches and two rows of kokoshniks. The apses, which are small in volume, are slightly lower than the zakomari. The portals of the Pyatnitskaya Church are made with a profiled frame, with eyebrows located above them. Above there is a frieze of brick meander, and even higher are decorative niches in which remains of plaster have been preserved. Above them is a belt of “runners”. The central sections are completed by triple windows. The skillful use of brick gives the structure a special expressiveness: two brick walls with the gap between them filled with stones and bricks with mortar. After 5-7 rows, the masonry was made continuous, after which they again switched to the backfilling technique. The master decided to lay out arches thrown over pillars above the vaults. Thus, the drum, resting on the arches, rises significantly above the walls. The meticulous precision of the brickwork reveals the hand of a Byzantine master. Perhaps it was Petr Miloneg. Despite the small size of the temple, the master also built a choir, but a narrow one, and an equally narrow staircase in the western wall.

Paraskeva Friday Church on Torg (Novgorod)

Creation time: 1207

Most likely, the Pyatnitsky Church at Torg was erected not by Novgorod craftsmen, but by Smolensk craftsmen, because it has no direct analogies among the Novgorod churches, but is similar to the Svirskaya Church of Smolensk. The corners of the temple itself and the narthexes are decorated with wide multi-stepped blades, unusual for Novgorod. The same applies to the side rectangular apses. The church is a cruciform building with six pillars. Four of them are round, which is not at all typical for Novgorod construction. The temple has three apses, of which the central one projects much further to the east than the others. The main volume of the church was adjoined on three sides by lowered porches (narthexes). Of these, only the northern one has survived; only small fragments have survived from the other two, and they were rebuilt by restorers. The building acquired its modern appearance as a result of restoration, during which many, but not all, of its ancient forms were revealed. Now the temple houses a kind of museum of the history of Novgorod architecture.

Conclusion

So, we see that quite a lot of monuments of Old Russian architecture of the 11th - early 13th centuries have been preserved. - about 30. (You should also take into account the fact that many buildings were not included in the work, due to significant changes in their appearance during fires, wars, natural disasters or unsuccessful restorations) There are especially many of them left in the Novgorod and Kyiv lands.

Temples were founded mainly by local princes in honor of their heavenly patrons, but often a cathedral could be erected in honor of some major victory. Sometimes the temple's customer was the local trade elite.

The architectural features of many monuments amaze with their magnificence, and the skill in their execution deserves admiration. In the course of my work, I found out that foreign craftsmen, in particular Byzantine and Greek, were often invited for construction. But many temples were built through the efforts of Russian architects. Gradually, each principality developed its own architectural school with its own approach to construction techniques and building decoration.

By the 12th century. Russian craftsmen mastered the technique of cement masonry and used brick. Much attention was paid to painting churches with frescoes and decorating them with mosaics.

The historical fate of many architectural monuments of that time is deplorable - they are irretrievably lost to us. Some are luckier - although they have been significantly rebuilt, they can still give us some idea of ​​the architecture of that era. Many buildings have survived to this day almost in their original form, and it is they that give us the most complete picture of the architecture of Ancient Rus' in the 11th - early 13th centuries.

List of used literature:

1. Komech A.I., Old Russian architecture of the late X - early XII centuries. - M.: Nauka, 1987.

2. Rappoport P. A., Old Russian architecture. - St. Petersburg, 1993.

3. Russian temples / ed. group: T. Kashirina, G. Evseeva - M.: World of Encyclopedias, 2006.

On the Borodino-2012 website I read an article about the ancient Russian necropolis in Mozhaisk. I was amazed at the sight of the tombstone slabs, which reminded me of ancient Roman tombstones, one of which is, for example, in the Hermitage. Ancient Russian tombstones, as we see, are too reminiscent of the times of the Etruscans: the same huge high slabs on legs. This is how the picture is drawn: an ancient descendant knelt near the grave of his glorious ancestor. Previously, the Etruscans did not place slabs vertically, as they do now in cemeteries, but laid a heavy slab (like a chest the size of a grave) flat.

Old Russian tombstones preserved in Mozhaisk are unique! And I was shocked that I knew nothing about it; and those who know cannot save these Russian treasures. And all because the current government behaves like OCCUPIERS on Russian Land.

Vladimir Soloukhin said this well:

“Only the occupiers, having captured the country, immediately begin to rename everything. ...All of these were dead, mortified churches, tattered, blackened, with iron lifted up on the roof, with fallen crosses, soiled on all sides and inside with human excrement. And yet the beauty in connection with the terrain amazed us.

No,” Kirill fumed, “no matter what they say, cultured, educated people (whether from Kazan University or from another university) could not cause such devastation and ruin throughout the country. They are not cultured people, but barbarians, half-educated, half-witted, ignorant, and, moreover, full of the most petty and vindictive malice. Criminals who seized power. Well, tell me, isn’t banditry the destruction of beauty? The beauty of the earth, its general appearance. But it wasn’t them who set it up...”

Ill. 06. Old Russian tombstone on the territory of the Mozhaisky Luzhetsky Monastery. The foundation for some kind of building was laid from these huge ancient slabs! It reminded me of the ancient Egyptian pyramids, which were dismantled by some pharaoh from a new dynasty to build a protective wall.

Ill. 08. Are these really Russian runes? My God, what an oldie!

Ill. 01. Ancient Russian tombstones of the Mozhaisk Luzhetsky Monastery.

I quote this article by Mozhaisk local historian V.A. Kukovenko. Lord, protect Your people and Your land!

_______ ________

Help save the Mozhaisk necropolis!

Posted on 04/03/2012 by admin

We are publishing a letter from Mozhaisk local historian V.I. Kukovenko about saving the necropolis of the Mozhaisk Luzhetsky Monastery.

To the Minister of Culture of the Russian Federation

Avdeev Alexander Alekseevich

Director of the Institute of Archeology of the Russian Academy of Sciences

Makarov Nikolai Andreevich

The Mozhaisk Luzhetsky Monastery, which was founded in 1408 by the Monk Ferapont, a disciple of Sergius of Radonezh, became the burial place of the most noble and most titled persons, first of the Mozhaisk principality, then simply of the district. It was an honor to rest next to the Mozhaisk saint, but the territory of the monastery was too small, so only a select few were buried here.

Some information has been preserved in the “Moscow Necropolis”*. It was from there that I wrote down about two dozen names of Mozhaisk nobles buried on the territory of the Luzhetsky Monastery. Basically, these were representatives of the Savelov family, whose family crypt was located in the lower part of the monastery bell tower, in the so-called “bell tent”.

*"Moscow Necropolis" - a reference publication (vol. 1-3, St. Petersburg, 1907-08) about persons who lived in the XIV-XIX centuries. and buried in Moscow cemeteries. Compiled by bibliographer and literary historian V.I. Saitov and archivist B.L. Modzalevsky. For the “Moscow Necropolis,” a census of about 30 thousand tombstones was carried out in 1904–06 in 25 Moscow monasteries, in 13 city cemeteries, some graveyards in the suburbs of Moscow and in the Trinity-Sergius Lavra. Last names (in the general alphabet), first names, patronymics, dates of life and death, ranks, titles, and the name of the cemetery in which the person is buried are given.

In the 90s of the last century, thanks to the efforts of several abbots of the Luzhetsky Monastery, the surviving tombstones were placed throughout the monastery, giving the cemetery, although not its original, but still an appropriate appearance.

After the restoration of the monastery necropolis, a very important problem for the history of the city emerged - the deciphering of epitaphs in order to compile a list of people buried here. Judging by the appearance and decoration of the tombstones shown in the photograph, it can be assumed that all of them were made no earlier than the 18th century. But information about the nobles of this century would be useful for the development of local history.

Let me briefly say that the lists of nobles of the Mozhaisk district are known most fully only from the middle of the 19th century. All previous centuries in this regard are blank spots in our history. Therefore, inscriptions from tombstones could significantly supplement our information about the noble families living in the district. This would be an invaluable gift not only to local history, but also to the entire national history.

Temples and chapels of the monastery:

1. Cathedral of the Nativity of the Blessed Virgin Mary

2. Church of the Entry of the Blessed Virgin Mary into the Temple

3. Church of the Transfiguration (gateway)

4. Bell tower

5. Church of St. Feraponta (foundation)

6. Holy spring

Other buildings of the monastery:

7. Cell building (XVII-XIX centuries)

8. Monastery building

9. Monastery building

10. Abbot's corps (XIX century)

11. Necropolis

12. Entrance (eastern) gate (XVIII century)

13. Walls and towers of the fence (XVIII-XIX centuries)

14. Gate of the utility yard (XVIII-XXI centuries)

Some time after the restoration of the necropolis, another unexpected discovery was made.

In 1997, when clearing the foundations of the Ferapontov Temple (in old documents it is called the Church of St. John Climacus), a place of “spuda” was discovered, i.e. burial of the Monk Ferapont. On May 26, 1999, with the blessing of Metropolitan Juvenaly of Krutitsky and Kolomna, the relics of the saint were opened and transferred to the restored temple of the gate church of the Transfiguration of the Lord. Then they were transferred to the Cathedral of the Nativity of the Blessed Virgin Mary, where they are kept in a shrine.

The cleared foundation of the destroyed church immediately attracted the closest attention, since it was made up of nothing but gravestones! Moreover, such slabs, the antiquity of which was obvious even to a non-specialist. Some of them were so archaic that the inscriptions on them were not carved, but scratched into the stone.

The foundations are made up of several rows of slabs: approximately 6-8.

Judging by the ornament, this slab dates back to the 16th century.

This is a massive slab from the 18th century. Who was lying under her?

One of the most interesting slabs, lying in the top row. Is it really the 15th century?

What could be lurking even lower?

And although the foundations of the Ferapont church are not deep (no more than 1.2-1.5 m), taking into account the entire perimeter, one can expect that there are several hundred slabs lying here. Moreover, the slabs are not only from the 18th century, but also from older ones. It is possible that the beginning of the 15th century, i.e. the first decades of the monastery's existence. Deciphering such a number of tombstone inscriptions could enrich our entire history and, perhaps, allow us to make sensational discoveries.

An unusual combination of circumstances - first the construction of this church on a foundation of tombstones, and then the destruction of this church - provided domestic historical science with an unusual opportunity to study unique artifacts in large quantities.

To get an idea of ​​how important it is to study such finds, I will give a short reference about Russian medieval tombstones.

Study of white stone medieval tombstones of Moscow Rus'.

Study of white stone tombstones of Moscow and North-Eastern Rus' of the XIII - XVII centuries. has its own history.

Until the beginning of the twentieth century, their study was limited to the collection and publication of inscriptions. The first work in which an attempt was made to consider the medieval tombstone of Moscow Rus' as an independent type of artifact with its inherent typological features was the collection of tombstones of the Historical Museum, published in the “Reports” of the museum for 1906 and 1911.

In the post-revolutionary period, the study of tombstones for a long time remained the domain of archaeologists and epigraphic specialists. A new stage of research began with the works of famous scientists in the field of epigraphy T.V. Nikolaeva and V.B. Girshberg, which appeared in the late 1950s and 60s.

The need and implementation of a targeted search for gravestone monuments, primarily early ones, dating back to the 13th - 15th centuries, and partly to the beginning of the 16th century, contributed to the active “accumulation” from the late 1960s to the early 1990s. a significant number of tombstones and a gradual awareness of the significance of their research for the history of Russian culture of the late Middle Ages.

In the last two decades, interest in tombstones has increased sharply due to the extremely wide spread of archaeological excavations and restoration of architectural monuments, primarily in Moscow and the Moscow region. Currently, entire complexes of tombstones from the 13th to 17th centuries have been identified, studied and catalogued. from the necropolises of such famous Moscow monasteries as the Danilov Monastery, the Epiphany Monastery, the Vysoko-Petrovsky Monastery and others.

Unfortunately, medieval tombstones are not a widespread source, despite the scale of the territory of the Moscow State. To date, the Institute of Archeology of the Russian Academy of Sciences has a collection of just over 1000 tombstones.

The main part of the tombstones belongs to the 16th - 17th centuries. (at least 90%), for the 15th century, about 10 - 15 copies are reliably known, and from the 13th - 14th centuries. - a little more (about 25 copies). In particular, now a leading specialist in the field of studying medieval tombstones, L.A. Belyaev. indicates that a fairly significant and almost unpublished collection of tombstones from the 16th - 17th centuries. kept in provincial museums. These “reserves,” according to L.A. Belyaev, number 200–300 copies.

As for the beginning of the existence of white stone tombstones on Russian Christian necropolises, then, as Belyaev L.A. notes, they appeared in the form of gravestones in Rus', most likely in the 13th century. There is still no reliable evidence of the existence of plates in the pre-Mongol period.

In the XIII - XV centuries. white stone tombstones are gradually spreading in Moscow and the lands around it, as well as in the north and north-west of Rus' (in Rostov, Tver, Staritsa, Beloozero and other areas). Later, at the end of the 15th and especially from the middle of the 16th century, local forms began to be replaced by tombstones with typical Moscow ornamentation. Having spread widely in the second half of the 16th - 17th centuries. throughout Muscovite Rus', in the last third of the 17th century, Moscow slabs were actively influenced by Baroque forms and ornaments of Western European tombstones. Since the 17th century and later, the tombstone will be pushed to the periphery by the spread of architecturally or sculpturally decorated tombstones and will retain only a secondary, auxiliary role, losing elements of medieval ornamentation.

Is it necessary to talk about how unique the unexpectedly opened Mozhaisk necropolis turned out to be? This is simply a storehouse of historical knowledge about medieval Mozhaisk! Centuries of our history lie here, and every stone from these graves is priceless to us both culturally and historically.

But now the Mozhaisk necropolis is in danger, as the limestone slabs of the tombstones began to quickly collapse. Before that, they lay in the ground for several decades, where, albeit poorly, they were still protected from sunlight and temperature changes by a layer of crushed stone and humus. When the foundations were cleared and other tombstones were placed around the cemetery, they began to become covered with lichens that destroyed them and became accessible to both moisture and frost. To date, the condition of these fragile limestone slabs is very deplorable. Therefore, urgent measures for their conservation are necessary.

If conservation is impossible for technical and material reasons, then it is necessary to conduct a study and description of these slabs in order to preserve at least the epitaphs for future researchers. To do this, it is necessary to disassemble the foundation slabs, clean them of lichens, copy the inscriptions and photograph them. This way we will preserve a significant part of our history for future generations. All we need is a specialist in this field, who would be willingly helped by Mozhaisk local history enthusiasts.

In addition to the Ministry of Culture and the Institute of Archeology of the Russian Academy of Sciences, I also appeal to all caring people who value our history. Let's join our efforts and save priceless inscriptions from the Mozhaisk necropolis for posterity.

Vladimir Kukovenko

Tithe Church (Church of the Assumption of the Blessed Virgin Mary) in Kyiv - the first stone church of the Old Russian state, erected by Saint Vladimir, Equal to the Apostles, on the site of the death of the Russian first martyrs Theodore and his son John. The Tale of Bygone Years dates the beginning of construction of the Tithe Church to 989. Prince Vladimir Svyatoslavich allocated a tenth of his income for the maintenance of the church and metropolis - tithe, which is where its name came from. At the time of its construction, it was the largest Kyiv temple. In 1240, the hordes of Batu Khan, having taken Kyiv, destroyed the Tithe Church - the last stronghold of the people of Kiev. According to legend, the Church of the Tithes collapsed under the weight of the people who climbed onto the vaults, trying to escape from the Mongols.

Saint Sophia Cathedral in Kyiv, built in the first half of the 11th century by Prince Yaroslav the Wise on the site of the victory in 1037 over the Pechenegs. At the turn of the 17th-18th centuries, it was externally rebuilt in the Ukrainian Baroque style. Inside the cathedral, the world's most complete ensemble of original mosaics (260 sq. m.) and frescoes (3000 sq. m.) from the first half of the 11th century has been preserved. Included in the UNESCO World Heritage List. In 1240, the St. Sophia Cathedral was plundered by Batu's soldiers. After this it remained a metropolitan residence until the end of the 13th century.

St. Sophia Cathedral in Novgorod- the main Orthodox church of Veliky Novgorod, created in 1045-1050 by Yaroslav the Wise. It is a cross-domed church. For centuries it remained the spiritual center of the Novgorod Republic. On the cross of the central dome there is a lead figure of a dove - a symbol of the Holy Spirit. According to legend, when Ivan the Terrible brutally dealt with the residents of Novgorod in 1570, a dove sat down to rest on the cross of Sophia. Seeing the terrible carnage from there, the dove was petrified with horror. During the occupation of Novgorod by Nazi troops, the temple was damaged and looted; after the war, it was completely restored and became a department of the Novgorod Museum-Reserve.

Church of the Intercession on the Nerl- a white stone temple, an outstanding monument of architecture of the Vladimir-Suzdal school. It was built in 1165 by Prince Andrei Bogolyubsky in memory of his deceased son Izyaslav. The church was consecrated in honor of the Feast of the Intercession of the Virgin Mary, established in Rus' in the middle of the 12th century on the initiative of Andrei Bogolyubsky. Unique feature - built on a man-made hill. The usual foundation was continued by the base of the walls, which were covered with clay soil of a mound lined with white stone. This technology made it possible to resist rising water during river floods. The walls of the church are strictly vertical, but thanks to the exceptionally well-found proportions, they look inclined inward, which achieves the illusion of a greater height of the structure. The walls of the church are decorated with carved reliefs. The church is a UNESCO World Heritage Site.

Cathedral of the Archangel- an Orthodox church located on Cathedral Square of the Moscow Kremlin, was built in 1505-1508. under the leadership of the Italian architect Aleviz Novy. Built of brick, decorated with white stone. Motifs of Italian Renaissance architecture are widely used in the decoration of the walls. It is the tomb of rulers from the Rurik and Romanov dynasties: the first to be buried here was Grand Duke Ivan Kalita, the last was Emperor Peter II. Object of cultural heritage of the Russian Federation.

Assumption Cathedral in Vladimir- the white stone cathedral was built under Grand Duke Andrei Bogolyubsky in 1158-1160. Before the rise of Moscow, it was the main temple of Vladimir-Suzdal Rus', where the Vladimir and Moscow princes were married for their great reign. A unique monument of Russian architecture of the 12th century. One of the few churches in which unique frescoes by Andrei Rublev have been preserved. Included in the list of UNESCO World Heritage Sites.

Golden Gate in Vladimir - built in 1164 under the Vladimir prince Andrei Bogolyubsky. In addition to defensive functions, they served as the main entrance to the city and served a direct religious purpose - they housed the active Church of the Deposition of the Robe. After the capture of Vladimir by the Tatar-Mongols, in 1238, the oak gates covered with gilded copper were removed from their hinges, loaded onto a cart, and an attempt was made to take them out of the city to the Horde. However, the ice on the Klyazma River collapsed under the cart, and the gate sank. UNESCO World Heritage Site.

Golden Gate in Kyiv- a monument to the defensive architecture of the Old Russian state during the reign of Prince Yaroslav the Wise. They got their name from the Golden Gate of Constantinople, which performed similar functions. This was probably a kind of rivalry with the great Byzantine Empire. The Golden Gate is a fortress tower with a wide passage. The height of the surviving walls reaches 9.5 meters. In 1240, the gate was badly damaged during the siege and capture of the city by Batu's hordes. Completely reconstructed at the beginning of the 21st century.

Dmitrievsky Cathedral in Vladimir - the court cathedral, erected by Vsevolod the Big Nest at the end of the 12th century. It is a white-stone cross-domed temple of the Vladimir-Suzdal architectural school. Famous for its white stone carvings. Included in the list of UNESCO World Heritage Sites.

Assumption Cathedral of the Moscow Kremlin- an Orthodox church located on Cathedral Square of the Moscow Kremlin. Built in 1475-1479 under the leadership of the Italian architect Aristotle Fioravanti. The main temple of the Russian state. The famous icon painter Dionysius took part in the painting of the cathedral. In 1547, the crowning of Ivan IV took place here for the first time. The Zemsky Council of 1613 was held in the building of the cathedral, at which Mikhail Fedorovich was elected tsar. During the St. Petersburg period, it continued to be the place of coronation of all Russian emperors, starting with Peter II. In 1812, the cathedral was desecrated and looted by the Napoleonic army, although the most valuable shrines were evacuated to Vologda.

Blagoveshchensky cathedral- the temple on Cathedral Square was built in 1489 by Pskov craftsmen. The cathedral was very badly damaged in the fire of 1547 and restored in 1564. In 1572, a porch was added to the cathedral, which later received the name Grozny. The original iconostasis of the cathedral contained icons painted in 1405 by Andrei Rublev and Theophanes the Greek. After the fire of 1547, two ancient rows were selected for the iconostasis - Deesis and Festive, from the era of Theophanes the Greek and Andrei Rublev. The floor of the cathedral is unique: it is made of soft honey-colored jasper. Until the 18th century it was the home church of the Moscow sovereigns. Object of cultural heritage of the Russian Federation.

Faceted Chamber- the main ceremonial reception hall of the Grand Duke's palace. It hosted meetings of the Boyar Duma, sessions of Zemsky Sobors, festivities in honor of the conquest of Kazan (1552), the victory at Poltava (1709), and the conclusion of the Treaty of Nystadt with Sweden (1721). Here, at the Zemsky Sobor in 1653, a decision was made to reunite Ukraine with Russia. Built in 1487-1491 by order of Ivan III by architects Marco Ruffo and Pietro Antonio Solari. It got its name from the eastern facade, decorated with faceted “diamond” rustication. On the south side of the facade there is a staircase, which is now called the “Red Porch”. Russian tsars and emperors passed along it for their coronation in the Assumption Cathedral. In the 21st century, the Chamber of Facets is one of the representative halls at the residence of the President of the Russian Federation. Object of cultural heritage of the Russian Federation.

Trinity-Sergius Lavra- the largest Orthodox monastery in Russia, founded by Sergius of Radonezh in the 13th century. It was the spiritual center of the Moscow lands and supported the Moscow princes. Here in 1380, Sergius blessed the army of Prince Dmitry Ivanovich, who was going to battle with Mamai. On September 8, 1380, during the Battle of Kulikovo, the monks and heroes of the Trinity Monastery - Peresvet and Oslyabya - entered the battlefield. For several centuries the monastery was the cultural and religious center of the Russian state. In the monastery, chronicles were compiled, manuscripts were copied, and icons were painted.

Outstanding icon painters Andrei Rublev and Daniil Cherny participated in the painting of the Trinity Cathedral of the monastery; the famous “Trinity” was painted for the iconostasis of the cathedral. During the Time of Troubles, the Trinity Monastery withstood a 16-month siege by Polish-Lithuanian invaders.

The architectural ensemble of the Lavra is included in the UNESCO World Heritage List.

Andronikov Monastery (Spaso-Andronikov) former monastery within the city of Moscow. The monastery's Spassky Cathedral is the oldest surviving Moscow temple. Founded in the mid-14th century by Metropolitan Alexy. In the interior of the Spassky Cathedral, fragments of frescoes painted by Andrei Rublev have survived. In the XIV-XVII centuries, the Andronikov Monastery was one of the centers for the correspondence of books. In 1812, the monastery was destroyed by the French. In 1985, the monastery became the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev (CMiAR). Object of cultural heritage of the Russian Federation.

The first detailed historical information about the life of our ancestors, the Eastern Slavs, dates back to the 9th - 10th centuries. There is also more ancient evidence, but it is so vague that scientists are still arguing whether it is talking about the Slavs or some other people. Of course, this does not mean that in the 9th century. our ancestors did not have their own history. It’s just that the natural and social conditions in which they lived were not conducive to the preservation of information. The Slavic lands are mostly fertile and humid, forested plains. There's not a lot of stone here, but a lot of wood. So, for centuries, wood served as the main building material. Stone buildings appeared in Rus' only with the adoption of Christianity, at the end of the 10th century. It is from this moment that the story about East Slavic architecture should begin. Of course, there is every reason to believe that even before baptism, Slavic builders erected magnificent structures, but wood is a very fragile material, and we have almost no information about the architecture of pre-Christian Rus'.

Reconstruction of St. Sophia of Kyiv

Spaso-Preobrazhensky Cathedral in Chernigov

Tithe Church in Kyiv. 989-996 Attempt at reconstruction by Yu. S. Aseev

The first stone building known to us in Rus' was the so-called Church of the Tithes, erected in 989 - 996 by order of Prince Vladimir the Saint in Kyiv. Unfortunately, it has not been preserved, and now we can only see the lines of its foundation and reconstructions made by scientists. The church was created by Byzantine builders and almost completely repeated the classical Byzantine cross-domed design.

The oldest Russian Christian temple that has survived to this day is the famous Sophia of Kiev, erected in 1037 - 1054 by order of Yaroslav the Wise. Byzantine churches also served as a model for it, but here unique national features are already evident, and the surrounding landscape is taken into account. Over the centuries since the reign of Yaroslav, Sofia was rebuilt several times, and its original appearance was changed. We will talk about it in more detail in an article specifically dedicated to the architectural monuments of Ukraine. One of the oldest architectural monuments of Kievan Rus is also the Transfiguration Cathedral in Chernigov, built by Prince Mstislav Vladimirovich.

Spaso-Reobrazhensky Cathedral in Chernigov

The next stage in the development of Russian architecture is no longer associated with Kiev, but with Novgorod, a large trading city on the northwestern border of the Slavic lands. Here in 1045-1055 its own Sophia was built. The basics of its design are similar to Byzantine prototypes, but the appearance and general impression that the temple produces are far from these prototypes. The main volume of the building is close to a cube in shape, but each of the five naves has its own rounded ceiling. The church is crowned with six domes; at first they were helmet-shaped, and then were replaced with a bow-shaped one. The helmet-shaped dome is the oldest in ancient Russian architecture. Later, hipped and onion-shaped domes appeared. The massive walls of Sofia Novgorod are devoid of any decoration and only in a few places are cut through by narrow windows. The temple is the embodiment of strict and courageous beauty and is in amazing harmony with the northern landscape.

Apse of the Spaso-Preobrazhensky Cathedral in Chernigov

Church of St. Nicholas on July near Novgorod. 1292 rub.

In the 12th century. A republican form of government was established in Novgorod. This political event was reflected in the development of architectural style. Instead of large monumental cathedrals, relatively small churches are beginning to be built. At this time, a type of one-domed church emerged, which later became classical.

A typical example of such an architectural structure is the Church of the Savior - Nereditsa, built near Novgorod at the end of the 12th century. It is a simple cubic volume topped by a single dome on an octagonal drum. Such churches were built in Novgorod in the 14th century. The architecture of the neighboring Pskov Principality is very similar to that of Novgorod, although its monuments are more massive.

Sofia Novgorodskaya

Novgorod. St. George's Cathedral of the Yuryev Monastery

Pskov. Cathedral of the Ivanovo Monastery. First half of the 12th century.

All this time in Rus' they continue to build not only from stone, but also from wood. This is indicated by the fact that in the development of stone architecture styles, a noticeable influence of wooden architecture is obvious. However, most of the wooden monuments that have survived to this day were built later, and will be discussed separately.

After the fall of Kyiv in the 12th century. stone construction also actively developed in the Vladimir-Suzdal principality. During the reign of Prince Andrei Bogolyubsky, who made the city of Vladimir his capital, many wonderful monuments were erected there. Vladimir cathedrals served as models for Italian masters when in the 15th century. built the cathedrals of the Moscow Kremlin.

Church of the Intercession on the Nerl. Vladimir - Suzdal Principality

Church of Fyodor Stratilates on the stream in Novgorod (1360-61)

The architecture of the Vladimir-Suzdal principality was not as severe as northern Russian architecture. The facade here could be decorated with thin semi-columns connected by small arches and complex ornaments. The most ornate temple of the style is considered to be the Dmitrievsky Cathedral in Vladimir. Among his decorations we see stylized leaves, and even fantastic animals, griffins.

Moscow Kremlin and its famous cathedrals

Vladimir. Golden Gate

In the 15th century The East Slavic lands are gradually gathering under the rule of the princes of Moscow. From a provincial fortress, Moscow turns into the capital of a huge state, and the prince begins to be called a tsar. In this regard, extensive construction is taking place here. It was at this time that the Kremlin was erected, the walls and towers of which are familiar to us all from childhood from numerous drawings and photographs. The famous Kremlin cathedrals were also built at the same time. As already mentioned, they used the churches of Vladimir and Suzdal as models. However, Moscow architecture of this period is not just similar to its predecessors. New motives were also introduced. Yes, it was during this period that bell towers began to be built, standing separately from the main church building. In the first half of the 16th century. Stone churches with a tent roof, that is, crowned with a dome that has the shape of an elongated pyramid, have gained popularity. Until now, such covering was typical only for wooden architecture or secular construction. The first stone tented church was the Church of the Ascension in the village of Kolomenskoye near Moscow; it was erected by Tsar Vasily III in honor of the birth of his son, the future Tsar Ivan the Terrible. Now this monument is located within the city.

Demetrius Cathedral in Vladimir

Moscow. Bell tower Ivan the Great. 1505-1508

Assumption Cathedral of the Moscow Kremlin

1475-1479 RUR. Architect Aristotle Fioravanti

A special place among the architectural monuments of Muscovite Rus' is occupied by the Intercession Cathedral, better known as St. Basil's Cathedral, built in the 16th century, but already during the reign of Ivan the Terrible. It is located on Red Square in Moscow, and everyone has seen at least a picture of it. The cathedral consists of nine pillars that rise from the ground floor, surrounded by a single gallery. Each of them has a coating that is different from the others. Above the central pillar there is a tent covering, the others are topped with onion-shaped domes. Each of the domes has a unique outline and is painted in its own way. The bright temple gives the impression of a painted, patterned toy, but at the same time seems majestic. After all, St. Basil's Cathedral was erected in honor of the great military victory of the Moscow state - the capture of the capital of the Kazan Khanate.

Assumption Cathedral of the Moscow Kremlin. 1475-79 Plan and analysis of proportions

Annunciation Cathedral of the Moscow Kremlin. 1484-1489

Church of the Ascension in Kolomenskoye

During the 16th century. The Moscow state waged a constant armed struggle with the neighboring Grand Duchy of Lithuania. In addition, it was threatened from the north by the Swedes, and from the south by the Crimean Tatars. Therefore, many fortifications were erected during this period. Monasteries located in strategically important areas of the country often took on the role of military fortresses. Such monasteries-fortresses include the Trinity Monastery near Moscow,

St. Basil's Cathedral

Kirillo - Belozersky monastery in the Vologda region, Solovetsky monastery on the White Sea.

Moscow. Trinity Church in Nikitniki (1631-1634) General view and plan

The 17th century was a time of economic and political decline of the Moscow state. It is torn to pieces by internal wars, in which external enemies willingly participate. Therefore, no major construction is currently underway. But small buildings are erected, the modest size of which is compensated by a large number of decorations. To decorate them, special figured bricks are made, from which decorative details are laid. Small protruding parts are painted white, and they stand out brightly against the background of red brick. The structure is surrounded on all sides by small pediments, piled on top of each other. The decoration covers the walls so thickly that this style is often called "patterned". Such monuments include the Church of the Nativity of the Virgin in Putinki and the Trinity Church in Ostankino. In the second half of the 17th century. A decree was issued by Moscow Patriarch Nikon on the fight against too worldly decoration of churches. This decree, by the way, prohibited the tent covering of religious buildings, as borrowed from secular architecture. According to the patriarch, Orthodox churches should be crowned with traditional onion-shaped domes. After the order, tented churches disappeared in the capital, but they continued to be built in provincial cities and especially in villages. In the second half of the 17th century. There is a partial return from the “patterned frequency” to a more strict Old Russian style. An example of such architecture can be the Kremlin ensemble in Rostov the Great.

Yaroslavl. Ensemble in Korovniki

Yaroslavl. Church of St. John Chrysostom in Korovniki. Plan

Tiled panel around the window of the middle altar (late 17th century)

But this time the artificially introduced severity did not last long in the architecture of the Moscow state. A new impetus for the development of an elegant, bright style was the annexation of Ukraine, where Western European baroque was already widespread and a distinctive national version of this style was born. Through Ukraine, Baroque came to the Russians.

Cathedral on the territory of the Rostov Kremlin