Naryshkin baroque architecture of the 17th century. Naryshkin baroque

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. late XVI I - the beginning of the XVIII centuries, the initial stage in the development of Russian baroque architecture. The architectural trend owes its name to the young boyar family of the Naryshkins, oriented towards Western Europe, in whose Moscow and Moscow region estates churches were built with some elements of the Baroque style, new for Russia at that time.

Main value 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 owned at the end of the XVII century. Naryshkin Filiakh. Since then, Naryshkin architecture has sometimes been called "Naryshkin" architecture, and also, given the main area of ​​distribution of this phenomenon, "Moscow Baroque". However, a certain difficulty arises when comparing this architectural trend with Western European styles, and it is connected with the fact that, corresponding in stages to the early revival, the Naryshkin style from the side of form cannot be defined in categories that have developed on Western European material, it contains features of both baroque and 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 the Eternal Peace between Russia and 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 close Orthodox Ukrainian and Belarusian peoples, and part of the culture, including purely national elements, was 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

The Naryshkin style combines the features of Russian architecture with elements of Central European, primarily Ukrainian baroque, elements of "large" 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, a rather distinctive style arose on Russian soil, 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 centric tiered churches that appeared are considered the best examples of the Naryshkin style, although in parallel with this innovative line, many traditional, pillarless, covered with a closed vault and topped 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 transition from medieval orderless to sequential 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 groves, surrounding the church are spacious open galleries. At present, the walls of the temple are painted in pink color, emphasizing the snow-white decorative elements of the building.

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 the European tradition: the main load-bearing element, as in the ancient Russian architectural tradition, remains walls that have almost disappeared out of 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.

The very concept of "Naryshkin or Moscow baroque" is rather arbitrary. Despite the fact that there is no generally recognized architectural style with such a name, connoisseurs are well aware of what in question. This style most clearly manifested itself in the thirty-year period from to, and it affected not only the Moscow region, but also the periphery, which was very remote from the center. Subsequently, the Naryshkin baroque experienced a renaissance already in the 20th century, in particular, elements characteristic of this style can be found in the design of the Komsomolskaya ring station of the Moscow metro, the building of the Leningradskaya hotel, in architecture and decorative design buildings of the Kazan railway station.

This style is called Naryshkin due to the fact that the most notable objects related to it according to a number of similar features were built by order of the boyar Lev Naryshkin, one of the relatives of Peter the Great. For the first time, such style features as the construction of a petal-shaped temple, the arrangement of domes in accordance with the cardinal points, the division of the facade into floors, the presence of order elements in the decor appeared during the construction of the Great Cathedral of the Donskoy Monastery.

Naryshkin baroque is characterized by tiered, centricity, as well as balance and symmetry, the presence of white elements on a red background. Most of the well-known architectural monuments related to the Naryshkin baroque demonstrate the borrowing of forms from Western European architectural objects related to the Baroque and the late Renaissance: these are torn pediments, and balustrades with vases, and spiral columns, as well as gems, shells, mascarons, cartouches.

The heyday of the Naryshkin baroque style was marked by the construction of the well-known Church of the Intercession in Fili, the Novodevichy Convent and the Church of the Savior in Ubory. The bell tower of the Novodevichy Convent is recognized by many experts as an example of the Naryshkin style. The churches of John the Warrior on Yakimanka and the Deposition of the Robe on the Donskaya were among the last to be built. Art historians note in the architecture of these objects traces of the decline of the style, expressed in flatter details, paleness and inexpressiveness of color in comparison with earlier objects. In the decorative design of these objects, one can notice the manifestation of other styles.

The geography of the distribution of the style is so wide that it is not entirely correct to call that style Moscow, based only on the location of objects. It is more correct to consider it Moscow at the place of origin. Later, objects in the Naryshkin baroque style were built, for example, in the Smolensk region, Bryansk, Ryazan. In Bryansk, this is the Sretensky Gate Church at the Svensky Monastery, in Ryazan, this is the Assumption Cathedral, which is the largest object built in the Naryshkin Baroque style, as well as the Solotchinsky Monastery in the vicinity of the city. Features of the Naryshkin style can be seen in the decorative elements of the architraves of such objects as the Stroganov Church in Nizhny Novgorod, the gate Forerunner Church in the Trinity-Sergius Lavra, the chapel of the Pyatnitsky Well in Sergiev Posad.

The end of the triumph of the Naryshkin style falls on the period of the beginning of the 18th century. This time was marked by the arrival of Western craftsmen and architects in Russia, as well as the ban of Peter the Great on the construction of stone objects anywhere except St. Petersburg. At the same time, it should be noted that on the periphery, the Naryshkin style, as a priority in the construction of temples, lasted 80-90 years longer. Elements of the Naryshkin baroque can be found on the facades of many village churches over late period. It was in this way that local architects tried to give churches solemnity and similarity to Moscow churches.

Naryshkin style

Naryshkin style

Naryshkinskoe or Moscow baroque is a conventional name for a specific stylistic direction in Russian architecture of the late 17th - early 18th centuries, the initial stage in the development of Russian baroque architecture. The architectural trend owes its name to the young boyar family of the Naryshkins, oriented towards Western Europe, 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 (Petrine baroque) of St. Petersburg, which was 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.

Story

This is a phenomenon in the history of Russian architecture that does not even have a clear name: it is known under the names of the Naryshkin baroque, Moscow baroque, Naryshkin style, Russian mannerism - and not a single word in any of these definitions is accepted by all art historians indisputably. Further, researchers cannot agree on whether this is a style, direction or regional trend.

The situation is complicated by the fact that there is no universally accepted definition of style. Nevertheless, most scholars agree that one can talk about style if there is a holistic art system. And it, firstly, covers different types art and artistic culture (we are only talking about Naryshkin architecture here, but take my word for it, you can also talk about the Naryshkin style in relation to at least icon painting and arts and crafts, and perhaps also to literature and music) and forms in them artistic unity.

Secondly, the style has more or less clear chronological boundaries (the Naryshkin style existed from the 1680s to the 1710s in the Moscow region and somewhat longer in the periphery).

The third and, probably, the main criterion of style is that style goes through several stages in its development: origin, development, flourishing and decline. So, there are early monuments of the Naryshkin style (the Great Cathedral of the Donskoy Monastery, where the first features of the new style appear: the petal form of the temple, the setting of chapters according to the cardinal points, the division of the facade by floors, order elements in the decor), monuments that mark the heyday of style (as everyone knows the Church of the Intercession in Fili, the Novodevichy Convent or the Church of the Savior in Ubory) and late Naryshkin monuments (for example, the Church of John the Warrior on Yakimanka or the Church of the Deposition of the Robe on the Don), where the style is already running out, the details become flat, the color is inexpressive, elements of other styles appear.

Finally, if this phenomenon is a style, its features can be used in the monuments of art of subsequent eras. Thus, the Naryshkin baroque experienced a kind of revival in the 20th century (its features can be seen, for example, in the building of the Leningradskaya Hotel, where tiered construction, turrets and torn pediments are used; decor of the Komsomolskaya-Koltsevaya metro station and, of course, the Kazan station) .

Name

Among art critics, there are disputes about how it is still more correct to call the architectural trend known as the “Naryshkin style”. Moreover, researchers cannot agree on whether this is a style, a direction or a regional trend.

The situation is complicated by the fact that there is no universally accepted definition of style. Nevertheless
Most scientists agree that one can talk about style if an integral artistic system is formed. And it covers different types of art and forms an artistic unity in them.

The situation is complicated by the fact that there is no universally accepted definition of style. Nevertheless, most scientists agree that one can talk about style if an integral artistic system is formed. And it covers different types of art and forms an artistic unity in them (in this work we will talk about Naryshkin architecture, but some researchers argue that "the Naryshkin style can also be discussed in relation to icon painting and arts and crafts, and possibly to literature and music"1).

Another and, probably, the main criterion of style is that style goes through several stages in its development: origin, development, flourishing and decline. So, there are early monuments of the Naryshkin style (the Great Cathedral of the Donskoy Monastery, where the first features of the new style appear: the petal shape of the temple, setting heads according to the cardinal points, the floor division of the facade, order elements in the decor), monuments that mark the heyday of the style (like the well-known church Intercession in Fili, the Novodevichy Convent or the Church of the Savior in Ubory) and late Naryshkin monuments (for example, the Church of John the Warrior on Yakimanka or the Church of the Deposition of the Robe on the Don), where the style is already running out, the details become flat, the color is inexpressive, elements of other styles appear.

So, after analyzing the main characteristics, we can conclude that the Naryshkin baroque is still a style. However, a certain difficulty arises when comparing this architectural trend with Western European styles, and it is connected with the fact that, phasically corresponding to the early revival, the Naryshkin style from the side of form cannot be defined in categories that have developed on Western European material, it contains features of both baroque and Renaissance and Mannerism. That is why the term "Naryshkin style" is traditionally used.

The next question that legitimately arises in the study this style: why "Naryshkinsky"? The Naryshkins are an ancient boyar family, known since the middle of the 15th century. But they were not the only and not the first customers of the style. They begin to build their churches after the victory over the Miloslavskys in order to emphasize their power and the fact that they love new trends (and the first Naryshkin buildings are built just the same by the Miloslavskys: Sophia, for example, begins the construction of the Novodevichy Convent).

Maybe then it would be more correct to call the style Moscow Baroque? But, firstly, the Moscow baroque is Anninsky, Elizabethan, partly Peter's baroque, and the Naryshkin style is a fundamentally different phenomenon. Secondly, the Naryshkin monuments are not only in Moscow, they are also the Assumption Cathedral in Ryazan and the Solotchinsky Monastery in its vicinity, the Sretenskaya gate church of the Svensky Monastery in Bryansk, and a number of monuments in the Smolensk region.

The name "Naryshskinsky" was finally assigned to the style after close study in the 1920s. Church of the Intercession, built in owned at the end of the XVII century. Naryshkin Filiakh.

The origin of style

As you know, architecture is a reflection of social processes in appearance buildings. In the middle of the 17th century, Muscovite Rus' as a whole was being restored after the Time of Troubles.

Prosperity and cheerfulness are reflected in architecture and household items: ornaments appear depicting paradise; houses begin to be decorated with purely decorative details that do not carry an engineering function; there is a fashion for bright clothes; the houses were also brightly painted.

Cities are growing, their architectural appearance is changing. There is a desire for regularity; the increase in the territory of cities contributes to the construction of higher bell towers and other vertical silhouettes. The growth of parishes necessitates the construction of more spacious churches, and the requirements for the quality of illumination are increasing. The interiors of temples lose their isolation, detachment from the world.

The horizons of people are expanding, the secular principle and the principles of rationalism are increasingly penetrating religious architecture, combined with festive decorativeness.

Another feature of this time is the fashion for everything related to travel (in architecture this manifested itself as an image on the facades of tropical plants; volutes were brought from ships; the octagon corresponds to the shape of a lighthouse; the spire is a reminder of the mast; round windows are associated with portholes; shells are also symbols of travel ). Thanks to travel, Russian stone craftsmen get acquainted with Western architecture and begin to penetrate into the essence of the order system (this does not mean at all that they travel themselves; for example, they get the opportunity to get acquainted with the brought architecture manuals).

At the same time, interest in exact sciences Key words: astronomy, astrology, alchemy. Travel leads to the development of geography, cartography, mathematics, physics, etc. Love for the stars led to the emergence of vertical lines.

Another prerequisite is the development of construction technology, the improvement of the quality of masonry walls, which made it possible to increase the size of the premises, make the walls thinner, the walls narrower, the windows larger and of various shapes. Brick became a common material, cheaper than stone and allowing for more diverse structures.

A new phenomenon appeared in Russian art and culture at that time - their secularization, expressed in the spread of secular scientific knowledge, a departure from religious canons, in particular, in architecture.

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 an 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 increase, and some Western European elements also fragmentarily penetrated into it. After the conclusion of the Eternal Peace between Russia and 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 then the eastern outskirts of the Commonwealth were inhabited by culturally similar, Orthodox Ukrainian and Belarusian peoples, and part of the culture, including purely national elements, was 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 - the Naryshkin style.

Peculiarities

Neither in the earlier Old Russian, nor in the Western European architecture there are no close parallels to this style. It organically merged the features of Moscow architecture, which, above all, was alien to the congestion of voluminous stucco molding and sculpture of the Western Baroque. On the contrary, there was a desire for openwork lightness of buildings. Such monuments are characterized by oval or polygonal, that is, polygonal windows.

So, the Naryshkin baroque is characterized by centricity, tieredness, symmetry, balance of masses, known separately and earlier and formed here into an integral system, supplemented by order details. His typical buildings are churches in estates near Moscow, tiered, on the basement, with galleries.

Naryshkin baroque is, as a rule, a contrast of two tones: a red-brick background and a white stone pattern, but it is impossible to say with certainty what color they originally had: for example, the first layer of paint in the Church of the Resurrection in Kadashi turned out to be yellow-blue.

The Naryshkin style is also characterized by the use of polychrome tiles, gilded wooden carvings in the interiors, following the traditions of “Russian patterning” and “grass ornament”.

Instead of the clarity and conciseness of pre-Petrine architecture, the estate churches of the Naryshkin baroque demonstrate the complexity of the plan and increased decorativeness. This is revealed in the baroque solemnity of painted, made in high relief woodcarving and gilded boxes, iconostases, pulpits. For example, in the Church of the Intercession in Ubory, a grandiose seven-tiered iconostasis was created - a unique baroque creation. But, unfortunately, in the years Soviet power the masterpiece is dead.

At the end of the 17th - beginning of the 18th century, the Naryshkin baroque found many admirers. Centric, or tripartite, churches are being built in Moscow, near Kolomna, in Nizhny Novgorod, near Serpukhov, near Ryazan. Gables and architraves are framed with volutes - architectural details in the form of curls, spiral columns are placed on brackets or console brackets extended from the wall. Decorative motifs amaze with their diversity: “torn pediments”, shells and cartouches (decorations in the form of a shield or a half-folded scroll), mascarons and gems, balustrades with vases ... Baroque creates new and unexpected compositions from these ornamental quirks. Realistically rendered vines, flowers and fruits are woven into luxurious garlands and bouquets, as if saturated with vital juices. Another favorite ornament is the most intricate weaves of intricately torn cartouches with comb-shaped ridges along the edges of the scrolls and convex pearl-grains arranged in rows.

The style is mannered, theatrical: columns that do not support anything (often they have a roller at the level of entasis - that is, the thickening of the column, on which the main load falls - and if they carried something, then it would have broken on this roller ), pediments that do not cover anything, brackets that do not hold anything, fake windows, etc. So, in the Church of the Intercession in Fili, brick walls are smoothly plastered and brickwork is painted over the plaster.

"R.B. Vipper notes that the style is also characterized by a duality of scale: one is grandiose, monumental, the other is miniature, patterned, detailed"2.

Naryshkinsky temple in in general terms retained the shape of the old township temple, and a decor devoid of any constructive meaning was superimposed on it. All these columns, pediments, brackets, etc. and so on. you can brush it off the wall like chalk off a blackboard, and the structure of the building will not suffer at all from this. Why are they needed then? And they carry, limit, cover, etc. and so on. visually.

So, summing up all of the above, it is necessary to once again note the main features of the Naryshkin style. His buildings are characterized by the symmetry of the composition, the logical ratio of masses and the placement of 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. In this growth of the rational beginning, the trend of transition from medieval orderless to sequentially order architecture was clearly affected.

Significant architects

The heyday of the Naryshkin, or Moscow, baroque falls on the 1690s and the very beginning of the 18th century. These same years are the best time for the work of Yakov Bukhvostov, a serf from the Moscow region, a nugget-architect. The creator of the new style in Russian architecture possessed extensive knowledge of a practical architect, was a capable organizer and at the same time had a bizarre imagination. Full of innovative ideas, the serf master carries out orders of noble nobles, associates of Peter, within the limits of Moscow and Ryazan estates. Archival documents testify that the outstanding architect not only headed the construction artels, but also delved into all the details during the construction. 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 the European tradition: the main load-bearing element, as in the ancient Russian architectural tradition, remains walls that have almost disappeared out of sight among the numerous decorative elements.

Another master, Ivan Zarudny, was born on the territory modern Ukraine, which was then part of the Commonwealth. Since 1701, he was in the royal service in Moscow, where he created a number of buildings, which are characterized by the processing of the Naryshkin style in the spirit of the traditions of European architecture of that time. In 1701-07. By order of Alexander Menshikov, Zarudny built his most famous creation - the Church of the Archangel Gabriel (Menshikov Tower) near Chistye Prudy. The building was crowned with a high spire, ending with a copper figure of the Archangel Gabriel, however, in 1723, as a result of a lightning strike, the church burned down, and after restoration it lost its upper tier and spire.

Also in the style of the Naryshkin baroque worked Pyotr Potapov (Church of the Assumption Holy Mother of God on Pokrovka), Mikhail Choglokov (Sukharevskaya Tower), Osip Startsev.

Monuments of the "Naryshkin" style

First of all, you should consider the most famous monument of the Naryshkin style - the Church of the Intercession in Fili.

The Church of the Intercession in Fili, located in the west of Moscow, was built at the very beginning of the 1690s in country estate boyar Lev Kirillovich Naryshkin. The Philevsky Church, which combines the lower (warm) Church of the Intercession and the upper (cold) Church of the Savior Not Made by Hands, is a recognized masterpiece of the Naryshkin style. The artistic merits of the monument, as well as the unique preservation of the original interiors of the upper church of the Savior Not Made by Hands, in the iconostasis of which there are icons of Karp Zolotarev and Kirill Ulanov, make it outstanding work Russian art of the early Peter the Great.

The first Intercession wooden church in Fili with a chapel of the Conception of St. Anna, according to documentary evidence, was built in 1619. The Filev lands at that time were owned by Prince F.I. Mstislavsky. The dedication of the temple to the Feast of the Intercession is associated with important event Troubled times. On October 1 (according to the old style), 1618, the troops of the Polish prince Vladislav and the hetman Sagaidachny stormed the walls of the White City of Moscow, repulsed by Russian troops. This event put an end to the turmoil and ruin of the Muscovite state. Muscovites saw in the victory over the army of Prince Vladislav a sign of the special patronage of the Virgin. In memory of this event, several Intercession churches were erected, including in Rubtsovo, Izmailovo and Medvedkovo. The Filevsky temple also falls into this row.

In 1689, the village of Fili was granted to the boyar Lev Kirillovich Naryshkin, the maternal uncle of Tsar Peter I. Having bought the neighboring Kuntsevo to Fili, the new owner intensively took up the arrangement of his possessions. He built boyar mansions topped with a clock tower, laid out a vast park with ponds and a garden, created various services, a stable yard. On the site of the old wooden church, Lev Kirillovich erects a majestic temple of the Intercession of the Virgin - a classic monument of the Naryshkin baroque.

The legend connects its construction with the events of the Streltsy revolt of 1682, during which Ivan and Afanasy Naryshkins were killed by the archers. Their younger brother Lev Kirillovich, hidden by Tsarina Natalya Kirillovna in the transitions to female half, prayed before the image of the Savior Not Made by Hands and made a vow upon deliverance from death to erect a temple with this dedication. Seven years later, having received the Filevsky lands, Lev Kirillovich fulfills his promise and lays a new stone church.

The exact timing of the construction of the stone temple is unknown. All documents perished big fire that took place in Fili in 1712. Obviously, work began the next year after Lev Kirillovich received the patrimony. "A number of evidence of decoration has been preserved interior decoration upper church in 1693-1694. Thus, it can be assumed that the main work was carried out in 1690-1693. The erection of a stone temple on the territory of the estate at the end of the 17th century was an important event for the owner. The church immediately became the main dominant, the face of the estate. The Naryshkin style was the best suited for such buildings, emphasizing the special significance of the house church "3. The representativeness, elegance, solemnity of the Naryshkin churches were called upon to express noble birth, generosity of the feudal lord, emphasize his wealth.

Money for the construction of the Filevskaya church was given by both Tsarina Natalya Kirillovna and the young Tsar Peter. According to legend, Peter repeatedly visited Fili and even often sang in the kliros of the Intercession Church. She refers to ancient type temple of the XVII century "like under the bells", that is, it combines the bell tower and the church.

The Church of the Intercession in Fili was built according to the principles of form, typical for Russian architecture of the 17th 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 groves, surrounding the church are spacious open galleries. The measured rhythm of the arches of the gallery with wide and picturesque staircases emphasizes the effect of the upward movement of the architectural masses. Currently, the walls of the temple are painted in pink, emphasizing the snow-white decorative elements of the building.

It remains a mystery what color the church originally had. Possibly, it was painted with a marbled asp, like the Church of the Trinity in Trinity Lykovo, erected in the same years by the younger brother of the Filyovo owner, Martemyan Kirillovich Naryshkin. This monument has much in common with the Church of the Intercession in Fili, in particular, open nine-sided stairs. The earliest painting of the Filyovskaya church in blue and blue, discovered during restoration, dates back to the middle of the 18th century. Over the next century, the church was painted yellow and red.

During the three centuries of its existence, the Filevsky temple was repeatedly renovated. "An important archival find was the measured drawings of the church late XVIII century with the signature "Syman under the supervision of Archite Kazakov". They were rebuilt and received descents on two sides with parapets from the lower platform. Probably, the drawings were made between 1775 and 1782 for some kind of restoration work, which was led by M.F. Kazakov. In the upper church, window sills made of artificial marble, often found in the buildings of the master, are still preserved "4. During the Patriotic War of 1812, the Filevsky temple was devastated by the French. Patriotic War 1941-1945, all heads and crosses were lost, as well as the upper drum (the third octagon). The original appearance of the temple was recreated as a result of restoration work, which continued intermittently from 1955 to 1980. A major role in saving the monument was played by the restorers E.V. Mikhailovsky and I.V. Ilyenko.

Red brick and white stone facades, an ingenious construction system of a tiered building, looking up, openwork crosses over shining domes - all this gives the church a fabulous lightness and intricacy of a "terem" with a tower-like stepped silhouette. This masterpiece, in fact, embodied all the features characteristic of the Naryshkin baroque. AND symmetrical composition buildings, and rich carved pediments that complete individual volumes, and large door and window openings, and open front stairs, and finally, the elegance and picturesqueness of the white stone scenery against a red background.

One of early monuments Naryshkin style - Novodevichy Convent.

The architectural ensemble of the Novodevichy Convent, which began to take shape in the first half of the 16th century, was basically completed by the end of the 17th century. It has reached our days almost unchanged. The ensemble is distinguished by its integrity and authenticity: it has not been subjected to restructuring and reconstructive intervention, there are no recreated objects here, only restoration and conservation work is being carried out.

His Church of the Transfiguration (1686) resembles a three-story palace raised above a three-span arch. The similarity is emphasized by the lavish architraves around the false window-snakes painted on the brickwork of the blank eastern wall. White shells separate the tower-like building of the Church of the Transfiguration from the multi-tiered decorative cupolas. Domes with a neck (another feature of the Naryshkin style) are shaped like exotic fruits, which were brought to Russia at that time.

The refectory (1685-1687) was built by Sophia as a room for joint meals and as a reception hall. It is covered with a mirror vault, like the Cross Chamber of the Kremlin, and surpasses it in size. The white-stone cornice is unusually ornate, from which white consoles seem to hang, alternating with intricate window frames.

One unit with the refectory is the Assumption Church (1686) made of brick, with details made of white stone. Particularly interesting are the windows in bizarre and powerful architraves.

The bell tower of the Novodevichy Convent (1689-1690) is a brilliant example of the Naryshkin baroque. The slender multi-tiered belfry pillar is very harmonious. The bell tower consists of six eights of different height and diameter. In the lower tier, the temple of Joasaph was originally placed. In the second, there is the Church of St. John the Theologian, into which a wide white stone staircase leads from the wall. The third tier is intended for the "big ringing" bells, and the largest of them - weighing 550 pounds - is Sophia's contribution. The scalloped arch is reminiscent of Arabic architecture. The fourth tier, decorated with white stone circles, was intended for the tower clock. One of the circles marks the place of the lost dial. In the 17th century, clocks were generally placed wherever possible (then a close to modern concept about time, about minutes; understanding of the state as clockwork). The fifth tier is for "small ringing" bells. The architecture of the fifth and sixth tiers and the exquisite onion dome differ from the architecture of the lower tiers, which supposedly was designed by Osip Startsev. The reduction of the octagon upwards, the alternation of deaf volumes with through ones, the underlined stability of the base give the bell tower expressiveness and compositional completeness. The 72-meter vertical united all the monastery buildings into one whole. When approached from the eastern side, it turns out to be in the middle of the wall between the two towers of the fence, reinforcing the main compositional axis of the monastery.

Interestingly, the Church of the Archangel Michael in Troparevo (circa 1693) is similar to the temples of the Novodevichy Convent - this is an original attempt to apply the techniques and forms of the Naryshkin style in an ordinary rural church to give it solemnity.

It is noteworthy that the Novodevichy Convent is the only example of an ensemble embodiment of the Naryshkin style.

In 2004, the complex of the Novodevichy Convent was included in the list of objects world heritage UNESCO, including as "an outstanding example of the so-called 'Moscow baroque'" (criterion I), as well as "an outstanding example of an exceptionally well-preserved monastic complex, depicting in detail the 'Moscow baroque', the architectural style of the late 17th century." (criterion IV)5.

The difficult fate of the creation of the Church of the Savior in the village of Ubory did not affect its rare beauty, born of inspiration. Once upon a time there were solid pine forests(hence the name of the village - "At the forest"), the river Uborka flowed into the Moscow River, and along the old road from Moscow to Zvenigorod, the Moscow tsars went on a pilgrimage to the Savvin Monastery.

In the 17th century, these lands were owned by the boyars Sheremetevs. On behalf of P. V. Sheremetev, Bukhvostov took up the construction of a stone church in his estate, but soon switched to the construction of the Assumption Cathedral in Ryazan. The enraged boyar imprisoned the master for the unfinished church in Ubory. The clerks of the Order of stone affairs sentenced the architect to "beat him mercilessly with a whip", and then "finish the stone work for him." However, as if anticipating his imminent death and fearing for the fate of the building, Sheremetev submitted a petition to the tsar with a request to cancel the punishment.

The completed church in Ubory (it was built in 1694-1697) became one of the masterpieces of ancient Russian architecture. As in the church in Fili, it has a stepped pyramidal structure: on a cube-four, three octals rise in tiers. From all sides, the cube was obscured by the semicircles of the altar and narthexes, which previously ended in chapters. Bells were hung in the middle through octagon. The building was surrounded by an open gallery-ambulance, decorated with white stone vases and panels with a juicy floral pattern.

The plan of the rarest monument is a four-petalled flower with gently curving edges and a square core. The bizarre carved ligature of the Church of the Savior is unusually plastic. Thin semi-columns, separated from the walls, are completely covered with large, slightly concave leaves with drops of dew, others are entwined with flower garlands and end with acanthus leaves of Corinthian capitals. Where did Bukhvostov draw baroque motifs from? They could have been borrowed from engravings, from book ornaments of treatises on architecture already translated at that time, brought by Belarusian carvers. The temple is so elegant that it resembles an exquisite piece of jewelry.

From the time of its erection, it amazed everyone with its festiveness, instilled a sense of joy and harmony. Raised to the top of a gentle hill, surrounded by a round dance of slender birches and pines, the monument reigned over the district. “I remember how we once drove up to Ubory in 1889,” Count S. D. Sheremetev wrote in his memoirs. “It was the eve of Peter’s Day, the evening was warm and quiet. , overflowing with worshipers. Harmonious peasant singing was heard under the high vaults of the temple. The deacon, an ancient old man, clearly and expressively read out petitions. The majestic iconostasis struck me with the severity and completeness of the decoration. The lamp burned brightly at the local icon of the Savior. Old Russia blew over us "6.

Attention should also be paid to a non-Moscow example of the style in question. The Assumption Cathedral in Ryazan is a sample of the Naryshkin temple of an atypical form.

It was built by Bukhvostov in 1693-1699. When creating it, the architect relied on the model of the Assumption Cathedral of the Moscow Kremlin. This is the largest monument of the Naryshkin baroque and one of the most majestic structures of its time, at the same time very clear and harmonious in composition. It came down to us rebuilt: the white stone parapet disappeared, the shape of the roof was changed. It is based on the scheme of the five-domed cathedral. The temple stands on a basement with an open mound and one main staircase. For the first time in Russian architecture, it is divided into tiers with the help of rows of windows. The walls are divided vertically into three parts, which corresponds to round internal supports placed at the same distance. The composition is also symmetrical, the dimensions of the window openings are the same.

The most remarkable thing about the cathedral is its decor. Thin paired columns divide the planes of the facades into equal parts and set the tone for the white-stone pattern. The only theme of the carving is leaves, flowers, bunches of grapes, but not a single detail is repeated. Graceful window frames stand out against the background of the red brick wall; they decrease upward and gradually disappear into the mass of the wall. In the first tier, the tops of the architraves appear as a continuous patterned spot, in the second they take on the character of a wide ornamental frame, in the third they turn into a small decorative finish.

Despite the massiveness of the main volume, the architect gave the temple a vertical aspiration and introduced elements of secular palace architecture into its appearance.

The construction of this temple was begun under Theodore and Sophia, dates back to 1696, the altar was rebuilt in early XIX century.

In plan, this is an octagon on a quadrangle, completed by a cupola on two deaf octagon. Chetverik is a symbol of power, an octagon is a reminder of a lighthouse (a temple is a beacon for a believer who needs to know where to go to pray). The rounded corners of the quadrangle are processed with bunches of semi-columns. On the octagon, the semi-columns are decorated with capitals in the form of white stone balls with small crosses. The torn pediment at the bottom emphasizes the power of the building, at the top it becomes lighter. The windows are framed with pilasters, which give dynamics, upward direction. The attic above the cornice is decorated with tiles. Tiles with seraphim (perhaps the work of Stepan Polubes) imitate marble.

Here the theatricality, mannerisms of style are clearly manifested: a cornice (even two) that does not close anything, brackets that do not hold anything, columns that do not know where they end, etc. The décor is distinguished by fine, refined modeling of details. In the 17th century, acquaintance with China begins, and Chinese motifs can be seen in the roof, reminiscent of the shape of the pagoda.

The Naryshkin baroque is the fruit of borrowing the Western style in architecture, which began in our country on the eve of Peter's reforms. Basically, this style existed in the Moscow region from the 1680s to the 1710s and a little longer - on the periphery of Russia. It owes its name to the boyar family of the Naryshkins, on the territories of whose estates in Fili, Kuntsevo, Sviblovo, Trinity-Lykovo and others, and today you can find samples ordered by them in this style. They are recognizable by the traditional old Russian design and at the same time elegant colors and plentiful, often white stone.

Development of the Naryshkin baroque style

There is some irony of history in the fact that the first who began to order baroque churches in Rus' were the boyars Miloslavsky (for example, Sophia began to build the Novodevichy Convent), whom the Naryshkins defeated in the rivalry for power. Strengthening their position, they launched an “enlightened” building, showing their power, wealth, and also openness to new trends. So the most notable version of the Moscow Baroque began to be called their name (along with the less original Golitsyn Baroque and rare traces of Peter the Great Baroque outside the imperial capital ).

The historical meaning of the Naryshkin baroque consisted in the penetration of the Western spirit, and, however, the masterpieces obtained along this path surprisingly revealed deeply Russian aesthetics. Actually, today art critics prefer to use the name "Naryshkin style", because the baroque in its early Russian version has acquired a special form. If Peter I demanded the full borrowing of the new artistic language, then the creators of the Naryshkin style carefully transplanted western architecture to native soil. According to Igor Grabar, the Naryshkin style was perceived by foreigners as an original Russian architectural phenomenon.

So, the Russian masters did not borrow the entire integrity of the Baroque style. In its mature examples, baroque is the active formation of space, the modeling of dynamic volumes, lines with the energy of collision, contradictions, connection sublime images Renaissance - with earthly weight, horizontal divisions, heaviness and rich decor. Borrowing the same forms of late, baroque, mannerism, using new forms of facade decoration from it: with vases, and - nevertheless, did not violate the usual clear division of space and the established canons of Russian form. In fact, they did not have such an opportunity - Patriarch Nikon issued a special decree to unify the form of temples (the so-called "consecrated five-domed"), fixing the canons of construction. Therefore, it was precisely the varied variation of decor that became the main thing in the Naryshkin style, although the role of this wealth for the design of buildings remained symbolic, symbolic. Functionally superfluous superstructures, false pediments, excessive splendor of decorations pointed to the European taste of the customer, served as an expression of cultural interests, but could not express the actual transition to the architecture of the New Age.

In the Naryshkin style, it became a transitional link from the general European architecture of "secularization".

The value of the Naryshkin style for architecture

The Naryshkin style is transitional not only because it reflects the partial borrowing of a new language, but because it fell on the scrapping of historical eras, mixing different worldviews. This is the reason that less is known about the masters who created it than about the customers. The name was assigned to the latter, and most of the masters remained anonymous in the Middle Ages, the heads of the respective artels. It was possible to restore only a few names of architects of that period, including Yakov Bukhvostov, Sergey Turchaninov, Petr Potapov. However, it is known that many of the ordinary builders of this style come from the territory of the Commonwealth, after the conclusion eternal peace with which, in 1686, the appeal to the West and its culture unfolded freely. Researchers see the kinship of the Naryshkin baroque with Ukrainian, with Polish samples and find in it the roots of the Belarusian folk decorative culture.

Most of the Naryshkin monuments familiar to us are red with white stone decor, but it is impossible to judge with certainty their original color (for example, it turned out that in the Church of the Resurrection in Kadashi (see illustration) the first layer of paint was yellow-blue), also using Little Russian tiles type. Another aspect of the Naryshkin style, besides the outdoor decor, is the centric composition in temple architecture. Around this period, brick enters a wider circulation, giving new building opportunities. Festive decorativeness, joyful and "worldly" nature of temple architecture in comparison with the traditionally strict Russian architecture is also a conspicuous sign of style.

Samples of the Naryshkin Baroque

The main samples of the Naryshkin baroque are concentrated in Moscow. This is, first of all, the Church of the Intercession of the Most Holy Theotokos in Fili (1690-1694): a tiered five-domed temple, in which volumes are rigidly demarcated and located on the same vertical axis, the so-called on. In Novodevichy, entered in the register architectural monuments UNESCO, excellent examples of the Moscow baroque have been preserved: these are the current Assumption Church (1685-1687) and the gate church of the Intercession of the Virgin (1683-1688). Another building of the heyday of the style - the mentioned Church of the Resurrection of Christ in Kadashi (1687), the name of the architect of which history has preserved - is Sergey Turchaninov. Already at the end of the style, during its transition to a more "pure western" Peter's baroque, Ivan Zarudny built another well-known Moscow building - the Menshikov Tower (1705-1707). Soon, Peter banned stone construction outside of St. Petersburg, and the appearance of the new capital already to a lesser extent reflected old Russian tradition, leaving the Naryshkin baroque to create a nostalgic image of old-fashioned provincial Moscow. This type of architecture received a second life already in the 20th century, inspiring modern architects to the pseudo-Russian style.

Website materials used: http://ru.wikipedia.org/, http://www.temples.ru/n_style.php http://www.projectclassica.ru/school/12_2004/school2004_12_01a.htm, http:// commons.wikimedia.org/

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.)

• - Pavilion "Grotto" in the Kuskovo estate. Moscow. baroque style in architecture of the late 16th - mid 18th centuries, characterized by decorative splendor...

  Moscow (encyclopedia)

• - Naryshkin baroque, see Moscow baroque ...

  Moscow (encyclopedia)

• - a common European style, common in the architecture of St. Petersburg in the first half - the middle of the 18th century. and possessing a number of national characteristics ...

  St. Petersburg (encyclopedia)

• - Borrowed from the historical and art-strovedch. terminology designation of one of the periods of development ancient art, namely Hellenistic. sculpture and architecture. As a cultural and historical...

  Dictionary of antiquity

• - BAROQUE - literary style Europe at the end of the 16th, 17th and part of the 18th centuries. The term "B." passed into the science of literature from art history ...

  Literary Encyclopedia

• - one of the main style directions in the art of Europe and America at the end of the 16th - the middle of the 18th centuries. Baroque is characterized by contrast, tension, dynamism of images, affectation, the desire for grandeur and splendor, to ...

  Terminological dictionary-thesaurus on literary criticism

• - one of the dominant styles in European architecture and art of the late 16th - mid-18th centuries. established itself in an era of intensive formation of nations and nation-states and received the greatest ...

  Art Encyclopedia

• - Naryshkin baroque, the conventional name for the style of Russian architecture of the con. 17 - beginning. 18th century The most characteristic buildings of this style were erected in the Moscow and suburban estates of the Naryshkin boyars ...

  Art Encyclopedia

• - one of the main stylistic trends in the art of Europe and America con. XVI - ser. 18th century B. is characterized by contrast, tension, dynamism of images, affectation, the desire for grandeur and splendor, to ...

  Encyclopedia of cultural studies

• - - artistic style of the end of the XVI century. - the middle of the 18th century, its homeland is Italy ...

  Encyclopedia of fashion and clothing

• - originated in Italy, one of the dominant styles in European architecture and art of the late XVI-mid XVIII centuries. embodied new ideas about the unity, infinity and diversity of the world, about its ...

  Architectural Dictionary

• - the conditional name of the style of Moscow architecture of the late XVII century, distinguished by the richness of carved decorations. Russian architecture of this time is incorrectly classified as Baroque...

  Architectural Dictionary

• - the conditional name of the stylistic direction in Russian architecture, con. 17 - early 18 centuries: secularly elegant multi-tiered churches and secular buildings with carved white stone decor, elements of an architectural order...

  Architectural Dictionary

• - main stylistic direction in the art of Europe and America con. 16 - ser. 18th century, which replaced the Renaissance style ...

  Big encyclopedic polytechnic dictionary

• - - Arts. the style that dominated the depiction...

  Music Encyclopedia

• - ...

  Spelling Dictionary of the Russian Language

"Naryshkin baroque" in books

Baroque