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Byzantine Art
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See also:
COLLECTION:
Russian
Architecture and Russian Icons
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Slav Art
Although Byzantine art had a profound influence on that of eastern
Slavs (Russians, Bielo-Russians, and Ukrainians) and southern Slavs
(Bulgars, Croats, Macedonians, Serbs, and Slovenes) over a long
period, the individual contribution of these ethnic groups was
equally important - hence the differences between the major schools:
Bulgar, Serb, and Russian. The Slaws built temples of wood,
decorating them with sculptures and paintings, and their beauty was
noted first in the the tenth century by the Arabic-geographer al-Masudi
and then in the 11th century by Bishop Thietmar of Merseburg. It is
probable that the mysterious decorations of the 12th-century stone
church of Vladimir and Suzdal originate in the kontine, the
sacred buildings of the Slavs that were painted outside in bright,
almost indelible colours, and decorated inside with carvings of wild
beasts and birds. Sculptures of idols in wood or stone, and gods
with gold and silver inlay, confirm the influence of ancient Slav
art on stone architecture, which became widespread after the
conversion of the Slavs to Christianity. This influence is evident
in the churches of the Rus in Kiev, where Russian art flourished
from the tenth century until the age of Peter the Great (1672-1725).
When the Tartars invaded, the art centres shifted from Kiev towards
the north, initially to Novgorod and Pskov and later to Moscow.
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The Ploughman Premysl is Summoned to Court, mural,
12th century Rotunda,
Znojmo, Czech Republic Premysl was the founder of
the Slav dynasty which united the
Czech populations and led !o the
founding of the kingdom of Bohemia |
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Russian architecture
(From Wikipedia)The first examples of monumental architecture
in Russia (as well as in
Belarus and
Ukraine) were the great churches of
"Rus", built after the
adoption of Christianity in
988. The Old Russian architectural style
which quickly established itself was strongly
influenced by the
Byzantine. Early
Russian Orthodox churches were mainly made
of wood with the simplest form of church
becoming known as a
cell church. Major cathedrals often featured
scores of small domes, which led some art
historians to take this as an indication of what
the pagan Slavic temples should have looked
like. The
Church of the Tithes was the first prominent
building to be made of stone in the 10th
century. The earliest
Kievan churches were built and decorated
with
frescoes and
mosaics by Byzantine masters. A great
example of an early Russo-Byzantine church was
the 13-domed
Saint Sophia Cathedral in Kiev (1037-54) but
unfortunately much of its exterior has been
altered with time.
Saint Sophia Cathedral in Novgorod
(1044-52), on the other hand, is a purely
Russian structure. Its austere thick walls,
small narrow windows, and helmeted cupolas have
much in common with the
Romanesque architecture of Western Europe.
Even further departure from Byzantine models is
evident in succeeding cathedrals of Novgorod: St
Nicholas's (1113), St Anthony's (1117-19), and
St George's (1119). By the end of the
12th century the centre of Russian political
life had moved from Kiev to the northern
principality of
Vladimir-Suzdal. The local churches were
built of white stone by Romanesque masters of
Friedrich Barbarossa, whilst their wall
statuary was elaborately carved by craftsmen
from
Georgia. These churches mark the highest
point of pre-Mongolian
Russian architecture. The most important
Vladimir churches are the
Assumption Cathedral (built 1158-60,
enlarged 1185-98, frescoes 1408) and St
Demetrios' Cathedral (built 1194-97). Another
miraculously preserved church is the graceful
Intercession Church on the Nerl (1165), one
of the most charming images of medieval Russia. Celebrated as these structures are, the
contemporaries were even more impressed by
churches of Southern Rus, particularly the
Svirskaya Church of
Smolensk (1191-94). As southern structures
were either ruined or rebuilt, restoration of
their original outlook has been a source of
contention between art historians. The most
memorable reconstruction is the Pyatnitskaya
Church in
Chernigov (1196-99), by
Peter Baranovsky. Secular architecture of
Kievan Rus is scarcely known. Up to the 20th
century, only the
Golden Gates of
Vladimir, despite much 18th-century
restoration, could be regarded as an authentic
monument of pre-Mongolian period. In the 1940s,
the archaeologist
Nikolai Voronin discovered the
well-preserved remains of
Andrei Bogolyubsky's palace in
Bogolyubovo, dating from 1158-65.
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Saint
Sophia Cathedral
Kiev, Ukraine
1037-1086
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The Saint Sophia Cathedral was built in 11 century.
It is situated in a very heart of the city. There are 260 square
meters of mosaics left and 300 square meters of frescoes left
through the centuries. It's impossible to find such church with so
much frescoes of 11 century left. There are the monastery buildings
dating from 17th century and conducted in Ukrainian baroque style
around the cathedral. The exterior of the cathedral is still the same. In
the end of 18 the iconostasis appeared and in 19th century and iron
floor plates. The Saint Sophia of Kiev it's a great treasuries of
art, a great example of Byzantian and ancient Russian architeture. The great huge mosaic of Saint Virgin Mary (6 meters
height) in the central part of the cathedral is impressing. It is
made of different stone and glass plates (about 177 different
colors). The architectural shapes and the paintings form the
unique unity. Frescoes like the ornaments decorate the walls,
columns and the vaults you can see there the images of the saints
and Evangelic motives. Unlike the other examples of Byzantic church
painting this frescoes have not only biblical and mythological but
also common motives among them there are portraits of great prince
Yaroslaw Mudriy and his family. The great prince Yaroslaw Mudriy (which means wise
in Russian) is an outstanding figure in the history of early Kiev
Russia. In the first half of ht 11 century he ruled this great
country, which occupied the significant part of Eastern Russia. It
was also one of the most civilized countries in Europe. Yaroslaw
adjusted the communications with other European countries. He
married the Swedish princess Ingigerde. His sisters were married on
members of Polish and Czech royal families, his sons were married to
Byzantian and German princesses and daughters were married to kings
of France, Hungary and Norway. Yaroslaw The wise has laid the
foundation of St. Sophia Cathedral.
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
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 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
 Saint Sophia Cathedral, Kiev, Ukraine, 1037-1086 |
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See also:
COLLECTION:
Russian Architecture and Russian Icons
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 Moscow School,
The Annunciation,
late 16th century,
Ambroveneto Collection
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RUSSIAN ICONS
Russian iconic art dates back to 988, the year when Vladimir. Grand
Duke of Kievan Russia, married a Byzantine princess and converted to
Christianity. It took its cultural and spiritual inspiration wholly
from Greek sources and became the art of the clergy, deliberately
creating a wide gulf between itself and the secular world. As art
flourished in cities and monasteries, identifiable schools appeared
in Vladimir, Suzdal, Rostov, Yaroslavl, Kiev, and Novgorod. From the
outset, the Russians showed a predilection for icons rather than
large-scale frescos. Large panels painted in wax w ere installed on
a screen separating the sanctuary from the main body of the church
(the iconostasis), sometimes forming an entire wall of icons. The
icons spiritual significance lay in the arrangement, position, and
gradual revelation of its image. Layers of colour become
progressively more luminous, set off by thin lines of white lead,
and there is no depth, no perspective, and no conscious stylistic
evolution to compare with that of the West. In Russia, Greece, and
the Peloponnese, iconographic art is the art of variations on a
theme, combining a simple language with a highly complex content,
both in small domestic pictures and in large, awe-inspiring panels.
The figure of the Mother of God, the gospel narrative, the figures
of the warrior saints (favourite of all imperial Byzantine art
subjects), and significant prophets, patriarchs, holy bishops, and
monks are all recurring images.
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Constantinople School,
The
Vladimir Virgin, 12th century.
State
Tretyakov Gallery, Moscow
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