Baroque The very word "baroque" means "irregular pearl". Baroque, one of the most magical periods European music, came after the Renaissance; This period is commonly referred to as the Age of Enlightenment. Exactly then public opinion leaned towards

Russian culture of the 17th century

INTRODUCTION

The 17th century, being a period of rapid development of ancient Russian culture, was at the same time the century of its completion. Preserving the main features of the traditional way of life, Russian society begins to transform in a direction that will later find its highest expression in the reforms of Peter the Great. Russia stood on the threshold of a new era. In culture, two trends are clearly distinguished: the penetration of Western European influences and the progressive process of secularization, i.e., liberation from the domination of the church.

Penetration of ideas and forms European culture, ideological disputes that led to a split, church art, which lost its craving for depth, comprehension of the essence, are very characteristic of the new century. There is an irresistible desire for descriptiveness, decorativeness.

Artistic creativity from a sacred occupation turns into a craft.

The church reform was a departure not only from medieval culture, but also from domestic, traditional: the country did not abandon the original type of culture, but took into account Western trends more carefully. All this led to relevance this abstract.

aim The work is a study of Russian culture of the 17th century.

To achieve the goal, it is necessary to consider a number of tasks: firstly: to consider architecture, patterned style, "Naryshkin baroque"; secondly, "Stroganov" and "Godun" painting, the school of icon painting of that period; thirdly, musical aesthetics, literature, printing and theater; and, finally, sculpture and arts and crafts of that time.

Chapter I. Architecture. Patterned style. Naryshkin baroque

In development architecture XVII V. three stages can be distinguished. At the beginning of the century, the general character of architecture still differed little from the architecture of the end of the 16th century.

Churches during the 17th century the same evolution took place from complex and asymmetric compositions to clear and balanced ones, from the picturesque brick “patterned” facades to the ordered decoration clearly placed on them. For the first half of the XVII century. “patterned” churches with a refectory, side chapels and a bell tower are typical. They have five domes, domes above the aisles, tents over the porches and the bell tower, tiers of kokoshniks and cornices inspired by residential architecture, platbands, milled belts. With their fractional decor, picturesque silhouette and complexity of volume, these churches resemble rich mansions, reflecting the penetration of secular principles into church architecture and losing the monumental clarity of the composition. Pilyavsky V.I. History of Russian architecture.

A characteristic feature of the second stage, covering the middle of the century, is the emphasized decorativeness, elegance and multi-colored architectural decoration. Patriarch Nikon forbade the construction of popular in the XVI century. hipped temples as non-canonical, different from the Greek models. By special orders, the architects were obliged to return to the traditional cross-domed scheme. However, architects easily circumvented the ban. Was found new opportunity use a favorite architectural element - bell towers were crowned with tents. As a result, buildings of intricate, asymmetric, “fabulous” architecture, remarkable in beauty, appeared. These are, for example, Trinity Church in Nikitniki (1634) and Church of the Nativity of the Virgin in Putinki (1652) Nikolsky N.M. Nikon's reforms and the origin of the schism //Three centuries. Essays on Russian culture of the 17th century.

The third stage begins in the 90s. 17th century Significant changes are taking place in Russian architecture. Appears a new style - « Naryshkin baroque ”, which got its name because the main customers of buildings made in this style were relatives of the second wife of the tsar, the mother of Peter I, Natalya Kirillovna Naryshkina. A characteristic feature of this style was the use of elements in the decor, reminiscent of the forms of the Western European Baroque style. However, the baroque literally words architecture of the 90s. 17th century cannot be named - the influence of European architecture was limited to the external design of buildings, without affecting the structure itself. Apart from Western traditions in the "Naryshkin baroque" Russian wooden architecture also made itself felt. Tits A.A. Russian stone residential architecture of the 17th century.

The most striking example of the "Naryshkin baroque" is Church of the Intercession in Fili (1693), in which the form of a tiered church, traditional for Russian wooden architecture, is combined with Western European decor. From the 17th century beautiful wooden temples have survived to our time. The well-known architectural complex Kizhi . Pilyavsky V.I. History of Russian architecture.

In addition to temple construction, the construction of secular buildings is underway. Tents are being built over the towers of the Moscow Kremlin. In the 30s. on the territory of the Kremlin was built a stone Terem Palace (architect Bazhen Ogurtsov, Antip Konstantinov, Trefil Sharutin, Larion Ushakov), and in the late 60s - a country royal residence - wooden palace in the village of Kolomenskoye (not preserved to this day), which, according to contemporaries, with its elegance resembled "a toy just taken out of the box." The wealthy part of society followed the king. To this day, stone Chambers of Averky Kirillov in Moscow (1657).

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 in New Jerusalem built a bell tower 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.