Ecclesiastical art is largely different from the secular. First, it performs several functions. After all, besides the fact that it provides an aesthetic component, it also performs a cult role. Through works of church art, a person cognizes the divine. The pinnacle of this type of art is considered to be works that equally embodied these two directions.
By eras
In the history of church art, the period of the Middle Ages is remarkable. It was in those dark times that his real heyday began. It acquired symbolism, since it was believed that only symbols would fully convey something divine. Also, all types of church art were canonical, that is, they always fit into a certain framework. For example, when painting icons, the master carefully followed the established canons.
Picture Features
The most important canon in the painting of icons was considered the ex altation of the sacred image above everything earthly. In this type of church art, for this reason, there was a lot of static, a golden background, which emphasized the conventionality of the plot. The whole set of artistic means was aimed specifically at creating sucheffect.
Even the images of objects were given not as a person would see them, but as a divine essence would see them. Since it was believed that it does not focus at a certain point, but hovering everywhere, objects were depicted in several projections. Also, in church art, time is depicted in accordance with the same canons - from the position of eternity.
Views
There are many varieties of church art. Its synthesis manifested itself in the churches. These places of worship embodied a combination of painting, applied art, and music. Each species is studied separately.
Development of Christian Art
It is important to consider that before the advent of modern church art, it managed to go through more than one stage. Their change is due to different stages in the cultural development of society. The formation of ancient Russian church art took place under Byzantine influence. Its development begins from the moment when Vladimir brought Christianity to Russia. In culture, it was, in fact, a transplant operation, because until that moment there were no such traditions in the country. He was withdrawn from another society and transplanted into the body of Russia. The church art of Ancient Russia began to develop with the borrowing of already existing well-thought-out monuments, places of worship and the richest ideas.
For this reason, Christianity had several advantages over paganism. Compared with the majestic temples of the church art of Russia, ancient monuments with altars lost in aesthetic terms. In recentthere was a dominance of flies that always accompanied the offering of sacrifices. In the new temples, in the sun, the domes shone with gold, the colors of the murals played, religious clothes, music amazed people who were not used to such things.
About adopting new style
The new style for the Slavs reflected a special worldview, which reflected the cosmic nature of man, impersonality. Man and nature were not opposed to each other. Culture and nature were in harmony, and man was not the central figure.
Monumental historicism
It was these ideas that were fully reflected in the style of church art in Russia - monumental historicism. It became widespread in the X-XIII centuries. The experience of Byzantium was transferred to the worldview of the barbarian society.
It is noteworthy that in the general European Romanesque style, in line with which Russian church art developed up to the Mongol-Tatar yoke, personality was also weakly expressed. Each building of that era reflects the folk creation through the prism of Christian ideas. The person sought to feel himself as a cultural element, to achieve a sense of integrity.
When Yaroslav the Wise came to power, the largest Russian cities acquired their St. Sophia Cathedrals. They were erected in Kyiv, Novgorod, Polotsk. Russian masters were trained by Greek craftsmen.
In the era of feudal fragmentation of the XII-XV centuries, the local nobility chose national forms. Then in the visual, architectural, church singing art, the characteristic forspecific locality features. The previously united state collapsed, and each of its islands had its own. This was reflected in the art, which has now become diverse.
In the painting of Vladimir and Novgorod, the traditions of Byzantium are manifested - the aristocracy of lines, images and shades. Often, masters from Greece were invited to work. The architecture was influenced by Romanesque traditions. Sometimes German masters left their mark here. In addition, a number of the most famous monuments that have survived to this day - the Assumption Cathedral, Dmitrievsky Cathedral - reflected the influence of the pagans. Sacred birds, a tree appear here, the image of a person does not dominate. This is a reflection of the mentality of the man of that era.
But in Novgorod and Pskov, in the struggle between princes and boyars, the latter win, unlike other Russian cities of that era. And here the temples differ to a large extent from the Vladimir ones. Here the temples are squat, their colors are bright. Animals and people are drowning in the ornaments that folk craftsmen loved so much.
Mongol-Tatar yoke
With fire and sword passing through Russia, the Mongol-Tatar tribes destroyed many examples of art of those times. Entire cities with their majestic buildings and craftsmen were destroyed. Huge territories once inhabited by the Slavs were empty, while Poland, Lithuania and the Livonian Order seized the western Russian lands.
Culture glimmered in Novgorod and the Vladimir-Suzdal Principality. But here art experienced a real decline. And only from the XIV century begins its rise, which was calledPre-Rebirth.
It was a specific socio-cultural state of society, which was reflected in all types of art. At this time, ideas about individuality, personality arose in the mentality of people, the creators began to search for something new. In Russia, it began to develop under the influence of Byzantium.
Traditions of Novgorod art were attacked by Theophan the Greek. His energetic strokes, spaces and expression had a massive impact on the art of those times.
At the same time, the national genius of painting appeared - Andrei Rublev. Humanistic ideas and softness of lines are reflected in his works. They are considered the real masterpieces of all time. He combined the divine essence and human traits in the same images.
The period of the rise of Moscow
In the last third of the 15th century, events took place that marked the beginning of a new stage in the development of Russian culture. Moscow, subjugating rival Novgorod, became the center of Russian principalities. A long era of monarchy began. Centralization was reflected both in the worldview and in the development of Orthodox church art.
The beginning of the Pre-Revival resulted in the Renaissance in Russia, being crushed by the reign of Ivan the Terrible. All those involved in the reform processes were defeated. Many figures were executed, exiled, tortured. In the struggle between the nonpossessors, who opposed church property, and the Josephites, who followed Joseph Volotsky, who advocated the union of the state and the church, the latter win.
Freedom in a monarchical stateis getting smaller. Its adherents - boyars, princes - perish in mass executions. Enslavement of the peasantry takes place, civil liberties disappear, nobles appear, who were faithful tsar servants. Then the model of "master and slaves" appears in Russian history. Individuality falls into the shackles of the state.
In temples
The processes of this period were fully reflected in church art. The temples began to express the ideas of centralization, they are strict, they emphasize the new state style. The culture of those years symbolizes the victory of Moscow. This is clearly seen in the exhibits of the Patriarchal Museum of Church Art. All local architectural features are disappearing, references to the Assumption Cathedral in Moscow can be traced everywhere.
However, tented churches also appear. They are distinguished by their great height, richness of decoration, lighting. They almost completely lack internal paintings.
In painting
However, in the pictorial art of the XV-XVI centuries, the Rublev traditions are preserved. It is he who is imitated by the most famous masters of that era. In the middle of the century, a turning point in artistic culture was observed: in 1551, the Stoglavy Cathedral appeared. The strictest supervision of painting begins. Intercultural relations "center-province" are being laid. The best craftsmen from other lands are brought to Moscow. Painting absorbs sophistication, richness of shades, elaboration of details.
New time
With the beginning of the 17th century, the New Time comes, when the traditional society undergoes the most importantchanges. This happens due to the events of the Time of Troubles, numerous military operations. The monarchy becomes absolute, the oppositional boyars with the church are subordinate to a strict vertical of power. With the Council Code of 1649, all the estates of the country are enslaved.
And against this background, processes of human emancipation, natural for the whole world, are triggered. But in Russia this happens under state oppression. Leaving the power of the church, the individual finds himself in the even tougher hands of the state. The presence of internal individualization, combined with complete lack of rights, lack of legal freedom, forms the characteristics of the mysterious Russian soul.
Culture is characterized by secularization, which is expressed in the earthiness of motives, while the heavenly recedes into the background. Russian people even look at heaven now with earthly eyes.
However, there is a trend towards democratization in church architecture. Religious buildings showed more external decoration and patterns. But construction is no longer carried out in the name of the divine, but for man. This explains the aesthetics of the buildings.
Church painting is also characterized by changes. More and more mundane stories appear here. Artists try to paint as it happens in life. The history of the formation of Russian statehood is also reflected in painting.
Subsequently, the Russian Empire began to erect monuments symbolizing its power. This was manifested in the luxury of temples, which absorbed the features of secular architecture.
OnDuring the 17th century, many changes were made to church life. Careful supervision is exercised over the creation of icons. During their writing, observance of the canons is observed. In the provinces, the influence of pre-Petrine traditions has been preserved for many years.
Features of the Russian spiritual life of the 19th century were fully reflected in the architectural mastery. For the most part, this can be seen in St. Petersburg. It was here that buildings were erected that eclipsed the beauty of the capital city of Moscow. The city grew very quickly, unlike the ancient capital. It had a single meaning - it should become a great European power.
In 1748 the famous Smolny Monastery was erected. It was built in the Baroque style. But here many primordially Russian features have been embodied. The monastery was built in a closed form. The cells were arranged in the form of a cross around the cathedral. Temples with one dome were built at the corners of the composition. At the same time, symmetry was observed here, which was not typical for ancient Russian monasteries.
In Moscow of that era, baroque also dominated and classicism was manifested. Thanks to this, the city also acquired European features. One of the most beautiful churches of that era is the Church of St. Clement on Pyatnitskaya Street.
The bell tower of the Trinity-Sergius Lavra became the pinnacle of the architecture of the 18th century. It was erected in Moscow in 1740-1770.
Church singing is also developing separately. In the 17th century, it was significantly influenced by Western traditions. Until that moment, church music was represented by Polish-Kyiv singing. Hisstarted in the capital of Russia, Alexei Mikhailovich the Quietest. It combined innovations and ancient motifs. But already in the middle of the century, musicians from Italy and Germany entered the St. Petersburg Chapel. Then they brought the features of European singing art. Concert notes were clearly manifested in church singing. And only monasteries and villages have preserved the ancient church singing. Some works of that era have survived to this day.
About contemporary art
There is a point of view that contemporary Russian art is in decline. This was the case until recently. At the moment, construction is developing very actively - a lot of churches are being built in the country.
However, connoisseurs of architecture note that in modern churches there is an unthinkable mixture of styles. So, icon painting under Vasnetsov is adjacent to pre-Petrine carvings and construction in the spirit of the Ostankino church.
Experts also say that modern architects are obsessed with the external content of churches, no longer expressing the divine nature that they were originally intended to reflect.
At the moment, in churches, for example, St. Basil's cupolas with the bell tower of the Nativity on Putinki are assembled. Copies do not outperform originals. Often the task is simply to repeat an already erected building, and this also does not contribute to the development of architectural thought in the country. There is a tendency that the architect follows the lead of customers who put forward requirements in accordance with theirvision of art. And the artist, seeing that it turns out to be a pit of art instead of creativity, continues to implement the project anyway. Thus, modern architectural church art is going through hard times. Society does not contribute to its development in the future.
And experts in the relevant field note this trend, predicting its development in the future. But attempts to revive this area are made on an ongoing basis. And it is possible that in the future this will give its tangible results, and there will be a kind of revival of church art in the country.
