Starting here new genre - illustrative material to a lecture course on the history of Russian architecture. So far, there are no forces and opportunities to produce a full-fledged text, otherwise it would be a textbook right away, at least bring it to the publishing house. Lectures are read by many, just there you can acquaint (and get acquainted) with the latest concepts, dispel persistent misconceptions, and simply present known material in some kind of logical system so that something clears up in many heads. Alas, these new concepts (as well as new information in general) come to the Internet with a strong delay, according to different reasons. So it turns out that old texts are walking in the virtual space, continuing to multiply long-outdated ideas.
I don’t know if I will be able to post here in due course the entire course on Russian architecture that I read at the Moscow Architectural Institute (it’s too dimensionless material to process), but I’ll start with one of its most interesting pages - NARYSHKINSKY STYLE. I love him very much, although I do not deal with them specifically. It turned out that the Internet still does not have a single intelligible and solid material on this topic.
There are no texts of fundamentally important dissertations by I.L. Buseva-Davydova, N.A. Merzlyutina, L.K. Maciel Sanchez, there are no numerous articles by M.N. Mikishatev, even the old publications of M.A. Ilyin and O.I. Braitseva. Of the high-quality general texts, there is only a review journal article by V.V. Sedov, as well as several articles by I.L. Buseva-Davydova on various individual issues of architecture of the 17th century. Instead of professional literature, on the other hand, something incomprehensible hangs in prominent places, although it was clearly written "from the heart." Wikipedia on this issue also anneals with all sorts of absurdities, science was not even close there. Well, among other things, it is full of outdated biographical articles on the so-called. architects of the Naryshkin style, especially according to Yakov Bukhvostov. And although now we are no longer inclined to consider these figures as architects in modern understanding in this profession, it is difficult for us to break the established stereotypes. Read more new research, this is the only way to avoid archaisms in your own ideas about the history of art. It changes with every new generation, and that's okay.
I am not proposing a new serious text on the topic here, it is technically not yet feasible (that is, it just needs to be written first), but there will be a logically built illustrative material. If desired, it will be possible to figure out how to general issues, and in particular the specifics of the Naryshkin style. I tried to choose very clear pictures.
The question of the term and its conventions. As you know, terms are negotiated. This phenomenon concerns in the first place, because all existing options are vulnerable. First, why STYLE? Because the system is integral and recognizable by a set of techniques and details. Tradition is recognized by the stability of type and construction, style by recognizable and repetitive details. In Naryshkino, their set is exceptionally rich and varied. 
Why NARYSHKINSKY? 
In fairness, the style could be called the Miloslavsky style or the style of Princess Sophia. But it didn't work out. 
A conversation about the era of change, about the movement of Russian culture of the 17th century towards the West, about Poland and its place in the Moscow life of that era. 
Architecture on the eve of the Naryshkin style. A certain dead end, when the same formulas are repeated many times - the imposition of a fractional decor on a standard quadrangle. More and more people are addicted to decor, but the constructive basis does not change for a long time, craftsmen and customers stubbornly cling to the old. 
Beginning of change. 1681 - Karp Zolotarev goes to Ukraine, with his return to Moscow, new constructive types of churches are brought. In 1681, the first four-petalled temple was laid on Presnya, which was not preserved and was not even completed. The beginning of a powerful Ukrainian influence in Moscow architecture 
The new architecture is patronized by Princess Sophia, her favorite Prince Golitsyn is especially active in all this. 
The highest boyars immediately respond to innovations. The early Ukrainianizing churches have almost no decor, they are still, as it were, not even Naryshkin in style. But the typology has already been greatly updated. 
Another type imported from Ukraine. And he also left his mark on Moscow soil. 
At the construction of the Novodevichy Convent (there, besides the old cathedral, almost everything was erected under Sophia), for the first time in such a variety of forms and motifs, a new decoration of the facades was tested. In 1686, peace was concluded with the Commonwealth (Poland), after which cultural influence Poland to Moscow intensified. The asceticism of the early Ukrainianizing monuments was replaced by the decorative luxury of European mannerism. He began to penetrate here primarily through the Polish corridor. It is also appropriate to recall that a significant part of the church hierarchs were graduates of the Kiev-Mohyla Academy, so that Westernism (albeit in an Orthodox guise) also went through them, already inside the church. 
Here, shells appear in the decor, which later this architecture will love very much. In this case, the shells indicate the regal character of the building. Despite the fact that the motif of shells is widespread in the decor of European Mannerism, here it apparently has its own local origin - from the shells of the Alevizov Archangel Cathedral in the Kremlin, which was the royal tomb. 
This type of building, such as a detached bell tower, is also being updated. In the pattern they were tented, then Patriarch Nikon built a bell tower in New Jerusalem in the manner of the Kremlin Ivan the Great. And so, further development themes of tiered bell towers. 
In addition to the Ukrainian-Polish one, another theme of the origin of the Naryshkin forms arises - Dutch or, more broadly, Dutch. They traded a lot with the Dutch, they were known better than many other foreigners. And it was no coincidence that Peter had an interest in everything Dutch since childhood. So Dutch designs will become very important when creating a new architectural language Muscovy. 
The Novodevichy Bell Tower is not alone. There is a whole line of them. 
So, to talk about the beginning of the style, two points are important - the emergence of new space-planning structures from the Ukrainian context and the birth of a new decor through the synthesis of samples also brought from the West (mainly through Ukraine-Poland and Holland). The crossing of both led to the flourishing of style in his the best masterpieces already in the early 1690s. In the defeated Miloslavskys, the Naryshkins seized the initiative to order, and gave the name to this architecture. 
Now that we have an idea of some important monuments Naryshkin style, it is necessary to move on to a more detailed analysis of the sources of its forms.
Plan
Introduction
1 Title
2 Prerequisites for the emergence
3 Features
4 Buildings
5 Significance for Russian architecture
6 List of buildings
7 Significant architects
8 Interesting Facts
Bibliography
Introduction
Naryshkinsky or Moscow baroque is a conventional name for a specific style direction in Russian architecture of the late XVII - early XVIII centuries, the initial stage in the development of Russian baroque architecture. The architectural trend owes its name to the young, oriented Western Europe to the boyar family of the Naryshkins, in whose Moscow and Moscow region estates churches were built with some elements of the Baroque style, new for Russia at that time.
The main significance of the Naryshkin style lies in the fact that it was he who became the link between the architecture of the old patriarchal Moscow and the new style (Peter's baroque) of St. Petersburg being built in the Western European spirit. The Golitsyn style, which existed simultaneously with the Naryshkin style and is closer to Western European baroque (the buildings erected in it are sometimes referred to as the Naryshkin style or use the generalized concept of “Moscow baroque” for them), turned out to be only an episode in the history of Russian baroque and could not play such an important role in history of Russian architecture.
1. Name
The name "Naryshkinsky" was assigned to the style after close study in the 1920s. Church of the Intercession, built in those who belonged to late XVII V. Naryshkin Filiakh. Since then Naryshkin architecture sometimes called "Naryshkinsky", and also, given the main area of \u200b\u200bdistribution of this phenomenon, "Moscow Baroque". However, a certain difficulty arises when comparing this architectural direction with Western European styles, and it is connected with the fact that, corresponding in stages early revival, the Naryshkin style from the side of form cannot be defined in the categories that have developed on Western European material; it contains features of both baroque and renaissance and mannerism. In this regard, it is preferable to use one that has a long tradition of use in scientific literature the term "Naryshkin style".
2. Prerequisites for the emergence
In the 17th century a new phenomenon appeared in Russian art and culture - their secularization, expressed in the spread of secular scientific knowledge, a departure from religious canons, in particular, in architecture. Approximately from the second third of the XVII century. the formation and development of a new, secular, culture begins.
In architecture, secularization was expressed primarily in a gradual departure from medieval simplicity and austerity, in the striving for external picturesqueness and elegance. Increasingly, merchants and township communities became customers for the construction of churches, which played important role in the nature of the buildings being built. A number of secularly elegant churches were erected, which, however, did not find support in the circles of church hierarchs, who resisted the secularization of church architecture and the penetration of secular principles into it. Patriarch Nikon in the 1650s forbade the construction of tent churches, putting forward the traditional five-domed church instead, which contributed to the emergence of tiered churches.
However, the influence of secular culture on Russian architecture continued to intensify, some Western European elements also fragmentarily penetrated into it. However, after the conclusion of Russia Eternal peace with the Commonwealth in 1686, this phenomenon became more widespread: the established contacts contributed to the large-scale penetration of Polish culture into the country. This phenomenon was not homogeneous, since at that time the eastern outskirts of the Commonwealth were inhabited by culturally similar Orthodox Ukrainian and Belarusian peoples, and part of culture, including purely national elements, borrowed from them. The combination of the features of different styles and cultures, as well as a certain “rethinking” of them by Russian masters, determined the specific nature of the new emerging architectural trend - Naryshkin style .
3. Features
Naryshkin style combines the features of Russian architecture with elements of Central European, primarily Ukrainian baroque, elements of "big" European styles, such as the Renaissance and Mannerism, Belarusian handicrafts, especially tiling. The main source of borrowings was the Grand Duchy of Lithuania located beyond the western borders of Russia. Thus, on Russian soil, enough original style, which, being based largely on national traditions architecture, organically fit into the local architecture of that time, at the same time introducing new features into the building art of Russia. The style became a highly arbitrary adaptation of the Baroque for Russia, in contrast to the buildings of the Petrine Baroque.
The best examples of the Naryshkin style are considered to be the centric tiered churches that appeared, although in parallel with this innovative line, many traditional, pillarless, covered with a closed vault and crowned with five domes of churches, enriched with new architectural and decorative forms- first of all, elements of the order borrowed from Western European architecture, which marked the trend of transition from medieval orderless to sequentially order architecture. The Naryshkin style is also characterized by the two-tone combination of red brick and white stone, the use of polychrome tiles, gilded wooden carvings in interiors, following traditions"Russian pattern" and "grass ornament". The combination of red brick walls finished with white stone or gypsum was typical of buildings in the Netherlands, England and Northern Germany.
The buildings built in the Naryshkin style cannot be called truly baroque in the Western European sense. Naryshkin style at its core - architectural composition- remained Russian, and only separate, often subtle elements of decor were borrowed from Western European art. Thus, the composition of a number of erected churches is opposite to the baroque - individual volumes do not merge into a single whole, plastically passing into each other, but are placed one on top of the other and are rigidly demarcated, which corresponds to the principle of formation typical of ancient Russian architecture. Foreigners, as well as many Russians familiar with Western European baroque models, perceived the Naryshkin style as an original Russian architectural phenomenon.
4. Buildings
One of the first buildings in the new style appeared in Moscow and suburban estates boyar family Naryshkins (from the family of which the mother of Peter I, Natalya Naryshkina, came), in which secular elegant multi-tiered red brick churches with some white stone decorative elements were erected ( bright examples: the Church of the Intercession in Fili, 1690-93, the Church of the Trinity in Trinity-Lykov, 1698-1704), which are characterized by a symmetrical composition, logical mass ratios and placement of a lush white stone decor, in which a freely interpreted order, borrowed from Western European architecture , serves as a means of visually connecting the multi-component volume of the building.
"Church of the Intercession in Fili... - easy lace fairy tale... purely Moscow, and not European beauty... That is why the Moscow baroque style has so little in common with Western European baroque, why it is so inextricably soldered with all the art that immediately preceded it in Moscow, and why baroque is so elusive for every foreigner features ... of the Intercession in Fili or the Assumption on Maroseyka, which seem to him exactly the same Russian as St. Basil the Blessed.
Igor Grabar, Russian art critic
The Church of the Intercession in Fili was built according to the principles of formation typical of the Russian architecture XVII century, representing a tiered five-domed temple, in which the strictly demarcated volumes of the bell tower and the church are located on the same vertical axis, the so-called octagon on the quadrangle. The four, surrounded by semicircles of apses, is actually the Church of the Intercession itself, and located higher, on the next tier, the octagon is the church in the name of the Savior Not Made by Hands, covered with an eight-bay vault. On it rises a ringing tier, made in the form of an octagonal drum and topped with an openwork gilded faceted onion dome, while the remaining four domes complete the apses of the church. At the base of the church there are graveyards, surrounding the church are spacious open galleries. At present, the walls of the temple are painted in pink color emphasizing snow-white decorative elements the buildings.
The completely snow-white Trinity Church, located in another Naryshkin estate, Trinity-Lykovo, and erected by Yakov Bukhvostov, has similar features. Many other buildings in the Naryshkin style are also associated with the name of this serf-born architect. It is significant that in Bukhvostov's buildings there are elements of a deliberately introduced Western European order (the corresponding terminology is also used in contract documentation), but his use of order elements differs from that adopted in European tradition: the main load-bearing element, as in the ancient Russian architectural tradition, remains the walls, which have almost disappeared from sight among the numerous decorative elements.
Another outstanding building in the Naryshkin style was the thirteen-domed Assumption Church on Pokrovka (1696-99), built by the fortress architect Pyotr Potapov for the merchant Ivan Matveyevich Sverchkov, which was admired by Bartolomeo Rastrelli Jr., and Vasily Bazhenov put it on a par with the Basil's Cathedral Blessed. The church was so picturesque that even Napoleon, who ordered to blow up the Kremlin, posted special guards near it so that it would not be hit by a fire that had begun in Moscow. The church has not reached the present time, since it was dismantled in 1935-36. under the pretext of widening the sidewalk.
Naryshkin baroque Naryshkin baroque
(Moscow Baroque), the conventional name for the style of Russian architecture of the end. 17 - beginning. 18th century The most characteristic buildings of this style were erected in the Moscow and suburban estates of the Naryshkin boyars (the Church of the Intercession of the Virgin in Fili, 1690-93; the Church of the Trinity in Troitsky-Lykovo, 1698-1704, and the Church of the Savior in the village of Ubory, 1694-97; both - architect Ya G. Bukhvostov). The Naryshkin baroque combined the traditions of ancient Russian white-stone patterns and new trends borrowed from Western European architecture. The buildings of this style are characterized by elegance, decorativeness, secular cheerfulness, major colors - a contrasting combination of red walls and white carved details. In the buildings of the Naryshkin baroque, elements of the order (decorative gables, semi-columns, pilasters, arches), as well as decorations in the form of shells and Volute. In the tiered, pyramidal composition of buildings (one or more decreasing octahedral volumes rise above the lower quadruple cube), the feeling of their smooth ascent upwards is expressed. Spacious galleries with wide staircases connect the buildings with the surrounding space. The Church of the Resurrection in Kadashi (1687–1713, architect S. Turchaninov), the Church of St. Boris and Gleb in Zyuzino (1688-1704), Sukharev Tower (1692-95, architect M. I. Choglokov), re-decorated in con. 17th century chambers of the Troekurovs and Averky Kirillov.
(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)
See what the "Naryshkin Baroque" is in other dictionaries:
- (Naryshkin style, Moscow baroque), conditional (by the name of the Naryshkins (see NARYSHKINS)) is the name of the style direction in Russian architecture of the end. 17 early 18 centuries: secularly elegant multi-tiered churches with an abundance of magnificent decorative ornaments,… … encyclopedic Dictionary
Russian baroque Golitsyn baroque Naryshkin style Petrovsky baroque Anninsky baroque Elizabethan baroque Catherine baroque Sibi ... Wikipedia
Cm … Moscow (encyclopedia)
Construction dictionary
Naryshkin baroque- (Naryshkin style, Moscow baroque), conditional (by the name of the Naryshkins) name of the style direction in Russian architecture of the end. 17 early 18 centuries: secularly elegant multi-tiered churches (in Fili and Troitsky Lykovo in Moscow) and secular buildings with ... ... Architectural Dictionary
"Naryshkin Baroque"- NARYSHKINSKY BAROQUE See Moscow baroque ... Russian humanitarian encyclopedic dictionary
Naryshkin baroque - … Spelling Dictionary of the Russian Language
- (Italian barocco, lit. bizarre, strange), one of the dominant styles in European architecture and art of the late XVI mid-eighteenth centuries Baroque was established in an era of intensive composition of nations and nation states(the main ... ... Art Encyclopedia
Icon temple Mother of God"Sign" at Sheremetev Yard— Orthodox church in the Naryshkin baroque style. 1680s Built at the expense of Lev Kirillovich Naryshkin, a relative of Tsar Alexei Mikhailovich.
Moscow Naryshkin baroque- so called style direction Russian architecture of the late 17th and early 18th centuries, which became initial stage in the formation of Russian baroque.
This direction in architecture owes its name to the boyar family of the Naryshkins, who built temple buildings with elements of European baroque on their estates (architecture complex of the late 17th - early 18th centuries: include churches in Fili, Trinity-Lykovo, Ubory, Dubrovitsy, Assumption on Maroseyka).
Heinrich Wölfflin (1864 - 1945) - Swiss writer, historian, art critic, theorist and art historian
Moscow baroque- the name is very conditional, since in addition to the baroque, the buildings had features of the Renaissance and Gothic, combined with the traditions of Russian architecture.
If we consider the system of definitions architectural styles, which was created G. Wölfflin, then the concept of "baroque" cannot be applied to this architectural phenomenon.
However, Wölfflin's research concerned exclusively the Italian Baroque, which differed from the Baroque in other countries. In addition, as the researcher himself argued, the Baroque has no clearly defined boundaries.
The Moscow baroque became a link between the architecture of patriarchal Moscow and St. Petersburg construction in European style. hallmark of this style was the aspiration of buildings upwards, their multi-tiered, patterned facades.
Church of the Trinity in Trinity-Lykovo. In 1935 it was included by the League of Nations in the list outstanding monuments world architecture. Arch. I. Bukhvostov.
Yakov Grigoryevich Bukhvostov (late 17th - early 18th centuries) - architect, one of the founders of the Moscow Baroque. The buildings of Bukhvostov are made of brick with a characteristic lush white stone decoration.
Baroque in Moscow 17-18 centuries. retained much of the centuries-old traditions of Russian architecture, to which new features were added.
This direction is characterized by multi-tiered architecture of churches, boyar chambers with white stone masonry, combined with order elements: columns, semi-columns, etc., framing spans and ribs of buildings.
The following structures can also serve as examples of the Moscow Naryshkin baroque: Assumption Church on Pokrovka.
Naryshkin baroque embodied in the work of a fortress architect P. Potapova- the thirteen-domed Assumption Church on Pokrovka. Academician Likhachev described it as a light "cloud of white and red lace." The church was demolished in 1935-1936.
Church of the Assumption Holy Mother of God on Pokrovka - a parish church. 1696-1699 Arch. Serf P. Potapov. The church was built at the expense of the merchant I. Sverchkov.
Novodevichy Convent
In the 17th century, under Princess Sophia, an architectural ensemble was built with a cathedral in the center.
Novodevichy Convent (Novodevichy Bogoroditse-Smolensky Monastery) is a Moscow female Orthodox monastery.
Krutitsy Compound
Osip Dmitrievich Startsev (? - 1714) - one of the Moscow architects of the late 17th - early 18th centuries.
Pyotr Dmitrievich Baranovsky (1892-1984) Soviet architect, restorer of ancient Russian architecture.
Built in the 18th century, originally as a monastery, and then this place became the residence of the bishops. Architect O. Startsev built in 1700 the Cathedral of the Assumption of the Blessed Virgin Mary (Small Assumption Cathedral), the lower church of Peter and Paul (1667-1689).
Metropolitan chambers were created in 1655-1670, restored P. Baranovsky.
Krutitsky Teremok, Resurrection Crossings (1693-1694) were built with the participation of O. Startsev. Tiles made by S. Ivanov were used to decorate the tower and the Holy Gates.
Krutitsky courtyard.
Moscow Church of the Intercession in Fili (1690-1694)
It was built at the expense of L.K. Naryshkin, the brother of Tsaritsa Natalya Kirillovna. The architect is not known (there is evidence that the author is Ya. Bukhvostov, but it is also possible that the church was built by P. Potapov).
The building is decorated with columns and capitals. His color solution characteristic of Russian traditions: a combination of red and white flowers in facade decoration.
Church of the Intercession in Fili. Moscow. 1690-1694
Church of the Resurrection of Christ in Kadashi. Moscow.
The first building was created in 1657. In 1687, at the expense of merchants K. Dobrynin and L. Dobrynin, the construction of a five-domed church began. In 1685, the portals of the lower temple were created, a six-tiered bell tower (43 m high) was added.
White-stone patterns adorn window frames, portals, scallops and cornices. Presumably, the author of the temple was Sergey Turchaninov(? - early 18th century) Russian architect who completed the construction of the Resurrection Cathedral in the New Jerusalem Monastery. In the 20th century, the temple was restored by an architect G. Alferova(1912 -1984)
Church of the Resurrection of Christ in Kadashi.
Baroque in Moscow was created mainly by Russian masters, which determined the features of buildings and their aesthetics. The buildings had a design traditional for ancient Russian churches, combined with elements of European architecture, which were used mainly in decoration. Features of the style were also manifested in the architecture of more late period. For example, the Moscow baroque merged with the Italian direction of style and manifested itself in the temple. Saint Clement(1762-1769) (presumably, architect P. Trezzini or A. Evlashev).
Church of St. Clement. Moscow. (presumably, architect P. Trezzini or A. Evlashev). (1762-1769)
Naryshkin baroque is a typical Russian phenomenon, easily recognizable and has become milestone on the way to the formation of Russian baroque.
