As the Church Fathers teach, a temple is not just walls in which services are held. According to religion, symbols have meaning. Separate parts of the temple are important during worship, while they carry a certain message, fully revealed in the monumental painting, which expresses the entire teaching of the Church. The painting of the temple contains His invisible presence, and the more the picture corresponds to the canons, the stronger this presence is felt, bringing more grace.
First paintings
Since ancient times, images in churches were intended to give information to the people. The painting of the walls of the temple is a continuation of the forms of the cathedral, they should carry not only a preaching goal, but also respond to poetic and figurative functions. In addition, painting is a reflection of the transformation of ideals and the progress of folk thought.
How art developed
From the end of the XIV century, the leading role in the art of the templepainting was occupied by the Moscow principality, which at that time led the unification of lands and the battle to overthrow the yoke of the Tatar-Mongols. The school, one of whose natives was Andrei Rublev, had a significant impact on the formation of painting.
The flowering of art is associated with the name of this icon painter. This period coincided with the early Renaissance in Italy. A worthy successor to Rublev was Dionysius, whose painting of an Orthodox church is characterized by sophistication, sophistication, light and bright palette.
After Dionysius, one can observe the desire for some kind of structured story unfolding on the walls of the cathedral. Often such a painting of the temple is congested. At the beginning of the 17th century, the Stroganov school was born, an important part of which was landscape painting, which displayed the diversity of nature.
The century is rich in dramatic events in the history of the state, but at the same time, secular culture also developed, influencing the painting of the temple. For example, the most significant painter of this period, Ushakov, calls for truthfulness in his drawings. Ascended to the throne, Peter I strengthened the secular perception. The ban on the use of stone in the construction of buildings located outside St. Petersburg had an even greater impact on the extinction of mural art.
Steps towards the revival of temple painting were taken only by the middle of the century. It was at this point that images began to be placed in stucco frames. By the end of the 19th century, classicism prevailed in the painting of cathedrals, which is characterized by an academic style of writing, combined with Alfrean andornamental paintings.
Religious painting of the 19th-20th centuries
Temple painting of this period develops according to the laws of Russian Art Nouveau, which originated in Kyiv. It was there that one could get acquainted with the works of Vasnetsov and Vrubel. The walls of the Vladimir Cathedral, painted by Vasnetsov, were photographed in detail, the magnificence of the painting was shown throughout the country.
Many artists sought to imitate this technique when working in other temples. The painting of the temple of this period greatly influenced the technique of other artists. A close study of the temple art has provided an unforgettable experience that helps to select a style that suits a particular architecture.
