The emergence of baroque in the Belarusian lands. Vilna baroque

The early morning of May 6th was exceptional. Despite the weather forecast of "cloudy, rainy", the fresh blue of the sky and the warm spring sun were inviting to travel without fear of ruining the experience. Whether Providence, whether the Lord God - clearly decided to deign us, and at the same time join the tour. To be honest, anticipating future events, we can say that it was so: we were lucky the whole route.

The original plan of the route was in the direction "counterclockwise" from Kostenevichi to Kamaev. However, Budslav could receive us only after lunch (there are two services before lunch), and in Krivichi the priest left and will return only at 21:00. So we moved "clockwise" and the first object we had was Kamai - the farthest "end" of the route, 180 kilometers from Minsk.

The road to Kamaev ran through picturesque and historical places. On our way were Molodechno, Myadel, Postavy - this is part of the ancient Vilna tract. Of course, besides the cities, there were many other interesting things. And most importantly - nature. There was something magical about the scenery outside the bus window. It seemed that the nature awakening from winter, “quiet” and “calm”, in fact, is just waiting for it to bloom in full force. There was a feeling hidden power and secret beauty. Perhaps this impression had its own reason - after all, these places had to go through a lot. The depth of experiences was reflected in the blue surface of the lakes, dramatic events were imprinted on the hills and ravines, and milestones of history turned into the shadows of former oak forests.

Kamai

Perhaps very symbolically, the first stop of the route was Kamai. Here is a sample of a defensive type temple. As if from the very beginning, we are given a reminder of the difficult fate of these places in general and the church in Belarus.

The history of the church of John the Baptist begins with the construction in 1603-1606. The foundation for the construction was given by Yan Rudamin-Dusyatsky (owner Kamaev) and Yan Khaetsky. After a fire in the middle of the 17th century, part of the roof burned down. The church was renovated and re-lit in 1673. In 1773 a chapel (on the right) with a crypt was added.

Despite the severe architecture of the church, its interiors are extremely rich. True masterpieces of art and baroque construction have been preserved in the ascetic walls. The main altar: a wooden skillful (Snitzer) work, the side altars are also wooden and also of high quality work from the beginning of the 18th century.

In addition, the temple has one of two paintings by Alfred Romel "Jesus and the Orphan" on the territory of the Republic of Belarus - this artist lived nearby. The walls of the church are painted using the grisaille technique. And in the choirs - the current organ of the 18th century. A mini-concert of organ music and chants was organized for our excursion. In the acoustic vaults of the church, organ music sounded magical, penetrating into the depths of the soul. The minor melody added to the drama of the history of Belarus.

But, of course, the main shrine of the temple is the image of the NPM (Immaculate Virgin Mary) - a copy of the famous Mother of God of Częstochowacirca 1610 in a silver frame. In ordinary times, the saint the image is closed with shats, we were honored to see it.

On the second tier of the main altar is the image of John the Baptist - the saint, under whose name the temple is lit. On the sides of the NPM - polycolor sculptures of St. Peter and St. Paul.

Finishing the description of Kamaev, it is worth mentioning a more ancient relic. In front of the church stands a cross carved from a single piece of granite, presumably from the 15th-16th centuries. Height - 2.5 meters, width - 1.88 meters. Such crosses were placed in the lands that had converted to Christianity, where a temple had not yet been erected. Despite all trials, our land belongs to God and will not be abandoned by him. With the hope of this, we will continue on our way.

Postavy

In Postavy, an interesting pseudo-Baroque building of the central “trade” square of the 19th century has been preserved. Here, on the square, there was once a Uniat church. But, unfortunately, it did not survive. And on the foundations of the former Uniat church, the Orthodox Church of St. Nicholas, built in the pseudo-Russian style in 1894, now stands.

The interest of our excursion was a sample of the neo-Gothic Catholic church of St. Anthony of Padua. Its location is very picturesque - on a peninsula-arc formed by a turn of the Myadelka River. In clear, cloudless weather, we were lucky to see the reflection of the temple in the water mirror.

The construction of the church was carried out in 1898-1904 on the foundations of the previous wooden church. Next to the old church there was a wooden building of the monastery. But unfortunately the monastery was closed in 1832 by royal decree, and the building was not preserved.

Postavy town. Yes, that's exactly warm memory leaves behind this Belarusian city. European clean, well-groomed, tidy, kind. Postavy met us very friendly with wonderful weather, enticing us to stay, perhaps even forever! However, the purpose of our tour was "Vilna baroque" and we did not linger here, but went further. Gothic as a trend in architecture and art historically preceded the appearance of the Baroque. In our journey (albeit neo-Gothic) - precedes the baroque architectural temple objects.

Beam

In Luchay there is one of the latest examples of the construction of temples by the Order of the Jesuits - the Church of St. Tadeusz. It was built at the expense of Oginsky, Tadeusz and Elzbieta in 1766-1777.

Experts attribute the church to the “Baroque Classicism” style, which came after the decline of the “High Vilna Baroque” and is a transition from Baroque to Classicism.

There are also obvious similarities with the destroyed Jesuit church in Polotsk, which further enhances the value of this object of history, architecture and art.

The interior of the church is skillfully painted in grisaille technique, as well as with illusionistic frescoes imitating volume. The church has a functioning organ.

However, an illusionistic fresco in the chapel turned out to be a completely unexpected find, imitating a depth much greater than it actually is “in stone”.

The church in Luchay gave us such a surprise.

Some researchers associate the style and even the authorship of the construction of the church in Luchay with the names of prominent and well-known architects of the Grand Duchy of Lithuania, Tomasz Zhabrovsky and Karl Spampani. The latter even taught architecture at the Vilna Jesuit Academy. The mastery of the architects is evidenced by the outstanding solution of the binding on the ground. This church "meets" travelers long before the town itself. It is located in such a way that it is perfectly visible from a distance when driving from Postavy.

Such a “road (diagonally) to the temple (lower right corner)” turned out. There are suspicions that the other direction has the same visual effect.

Dunilovichi

The church in Dunilovichi was built under the name of the Holy Trinity in 1683 and belonged to the Order of the Dominicans. It is worth noting that this order built its temples exclusively in major cities and "regional centers". The Dominicans did not go to towns and villages. The rarest exceptions are when the temple was erected as a reliquary, a place for storing relics. Along with the church there was also a Dominican monastery. However, the monastery has not survived to our times. The building of the wooden temple was rebuilt in stone in 1769-1773. The initial foundation (in 1683) was given by Elzbieta Issikowska (widow Belazer). Between those, Dunilovichi was just a small town, though at a very busy Vilna tract. What is the secret of this most beautiful church, a sample of the “high Vilna baroque”?

Inside there is a “Loretan altar”, unique for our places. This is a type of altar, a “temple within a temple”, symbolizing the hut of the Virgin Mary. According to legend, angels moved the house of Mary from Palestine to Italy to the city of Loreto. So he was saved from the possible ruin of the advancing Saracens.

It consists of two parts: an altar for believers (in front) and an altar house (behind).

There are also dramatic events in the history of this church. In 1973, the town came under the rule of the Russian Empire, and in 1866 the church was rebuilt into an Orthodox church. Catholics are building opposite the templewooden catholic church. But that one burns in 1890, and the construction of a new one was prohibited. Since 1919, already as part of Poland, the temple was returned to the Catholics, but was again closed and used as a warehouse under the USSR.

In Dunilovichi, an image of the Virgin Mary is located above the altar-house. This face is most likely the original, brought from Italy. It was moved from the church when a church was set up in it, and during the fire of the wooden church in 1890, the parishioners managed to pull outfrom the fire of the shrine and kept it until the new opening of the old church in 1919.

This is the kind of shrine that the Dominican brothers kept here. And the fate of this church is very typical for churches in the west and north of Belarus.

Deep

In the city of Glubokoe there are two remarkable architectural monuments of the Vilna Baroque era. The first is the church of the Barefoot Carmelite Order built in 1639-54, rebuilt in 1735 by Jan Glaubitz himself. At the church there was a monastery of the order. Now the temple has been given to the Orthodox Church, and now there is the Church of the Nativity of the Virgin. The size of the temple is amazing! Under the building there is just a huge crypt, where we were let in - another favor of Lady Fortune. Here, under the temple, the fundator of the temple, Yazep Korsak, was buried.

There is a curious icon in the church. "Mother of God with Child", revered by both Orthodox and Catholics. This face was painted in 1738.

The building of the monastery is in disrepair, not used and not restored. And earlier, under the Carmelites, there was a whole educational complex here. There was a secular school, a library (2500 volumes of books), a hospital, a pharmacy (with a warehouse of medicines), utility rooms. It was a real center of knowledge and science.

However, almost everywhere in the Catholic monasteries on the territory of the Grand Duchy of Lithuania, there were also secular and scientific centers. Most of all in this field the order of the Jesuits was noted.

Opposite the former Carmelite church stands another monument of the Vilna baroque - the parish church of the Holy Trinity, built in 1764 with the money of the same Korsak - governor Mstislavsky.

After the transfer of the Carmelite Church to the Orthodox Church, the question arose of expanding the Church of the Holy Trinity. And in 1902-1908 the church was rebuilt. The main façade was built on, the volume of the church was expanded.

Inside are notable baroque wooden altars from the late 18th century. In general, everywhere along the route of the tour there are wooden altars, which are 150-250 years old, and many have “not a single beetle”.

The plans of the current leadership of the city are to rebuild the entire central square of Glubokoye in a pseudo-Baroque style, emphasizing the existing historical architectural monuments. They say there is a project, but there is no funding.

Budslav

The history of the town is very eventful. The first mention refers to 1504, when this place was given to the Bernardine monks of Vilna for logging for the needs of construction in Vilna. The monks set up a chapel here, huts for life and began work. According to legend, in 1588 the Virgin Mary appeared to the monks, and already in 1589 the construction of the temple began under the title of the Resurrection of the Virgin Mary. The foundation was given by Oshmyany judge Stanislav Koreyva.

In 1635, the icon of the Virgin Mary was placed on the main altar as the main icon. This shrine has its own separate destiny. It was received as a gift in 1589 by the Minsk governor Jan Pac from the hands of Pope Clement 8 himself. Such gifts were given to all prominent statesmen who converted to Catholicism. Jan Patz took her everywhere with him, including various military campaigns. After the death of Pats, the icon remained with his personal chaplain I. Solokal. In 1613, the Bernardine brothers persuaded Solokal to enter the order and come to their monastery (it was built on the foundation of Jan Kishka at the same time as the construction of the first wooden chapel). Solokal brought the icon along with him. After that, miracles of healing were recorded and the icon was considered miraculous. During the war of the Commonwealth with Russia in 1654-1667. the monks took the icon to Sokolkovo in Belostochchina.

In 1632, Buda received the status of a town. In 1633, at the expense of the same Jan Kishka (hetman of the Grand Duchy of Lithuania, governor of Polotsk), as well as Florian Kalecki (prior of the Bernardine monastery) and Dalmat-Isakovsky, the construction of a new stone church began, which was completed in 1643. The temple was built by master Andrei Kromer, a German of the Uniat faith from Polotsk.

In 1649, for a worthy frame of the miraculous icon of the Mother of God of Budslav, a unique main altar was built, which has no analogues anywhere in Lithuania and the Commonwealth. The altar was made by the master carver Peter Gramel. The altar uses optical techniques that visually increase the depth of the altar composition. Such perspective effects were very fond of applying the architects of the Baroque era.

The prototype of the altar is the arch in Antwerp at the solemn entrance of Prince Ferdinand of Austria, designed by Rubens and built in 1635. It was similarly decorated in Gdansk for the entry of King Vladislav 4 and his new wife. Although, perhaps, the engravings from the album of the architect and artist Giovanni Montana, published in 1624, were a source of inspiration. It should be noted that the well-known "Bernini Staircase", which is an example of perspective illusions in architecture, was created 14 years later in 1663. There is also an undeniable connection artistic details with Dutch decorating traditions (“finely cut” leaves superimposed on trunks).

In 1767, a new church was laid, which included the old church as the chapel of St. Barbara.

Taking into account the national level of the shrine of the icon of the Mother of God of Budslav, services are mostly held in the new part of the church. For example, for the lastfest in 2011, 40 thousand believers pilgrims gathered. However, it is a pity that services are not conducted in the old church, even now during the restoration of the church: the benches have even been removed from there.

The new church and its altars are an example of late baroque architecture. Grandiose cross-domed three-aisled basilica. Complicated two-tier facade. Length - 62 meters, width along the facade - 50 meters, width along the transept - 39 meters.

Recent studies show that the architect of this temple is Iosif Fontana, son and grandson of famous Baroque and Renaissance architects. Although it was previously believed that the author was Constantine Pence, also a famous architect.

On the walls: 8 illusionistic side altars, painted in 1782 by the artist Kazimir Antoshevsky, and grisaille paintings of the cycle of the Passion of Christ and images of the apostles, made around 1801, most likely by the same Antoshevsky.

Budslav can rightfully be considered the pearl of our excursion. Here we saw a grandiose in size and beauty church of the 18th century and a unique church of the 17th century, with wonderful wall paintings, a unique miraculous icon of the 16th century of the Mother of God of Budslav, of national value, a wooden altar of the 17th century (636 years old!) .

There is art here! There is architecture here! There's a story here!

Krivichi

In Krivichi there is a baroque church of the order of the Trinitarians under the name of St. Andrew. We arrived there at 8 o'clock in the evening, already rather tired. Moreover, we had almost no hope of going inside, as the priest was away and promised to return by 9 pm. There was indeed a lock on the door. The short stop threatened to end when, by the will of providence, a car drove into the plebaniya yard. Yes, we were lucky again - the doors of another temple opened!

The history of this church began in 1770, when Trinitarian monks arrived in Krivichi from Galicia. In their homeland, the monasteries were closed by the Austro-Hungarian authorities. For them, a monastery was built at the expense of Andrei Ukolsky, feeding Troksky and his wife Teresa from the Voin family. The wooden church was built in 1776-1777. In 1796 the church was built in stone under the same name of St. Andrew.

Inside, in the main altar, there is a valuable relic - a statue of Christ. According to archival data, the head, arms and legs were made in Rome for the Trinitarian church in Mielec. The rest was made on the spot - in Belarus. There is a relic in the head. After the expulsion of the Trinitarians from Galicia, the figure was transported to Vilna to the antakol, where it lay in a skarbz, never unpacked. After that, she was brought to Krivichi.

Kostenevichi

In Kostenevichi there is a very neat small church of the Jesuit order under the name of the Sinless Conception of the Virgin Mary built in 1763. The altar in it is also baroque, made of wood.

Unfortunately, we were unable to go inside. And there was no hope from the very beginning - no one answered the phone, and no one knew any other connection with the priest. On the spot, we found out the reason: the priest was admitted to the hospital with a heart and is now being treated. We wished him well and, exhausted, we set off on our way back. There were 97 kilometers ahead.

Completion.

During the day we managed to drive about 600 kilometers. We returned to Minsk at 10 pm. It turned out to be a very rich and beautiful tour! We learned and saw a lot. There is much more to be known. On such trips, three tons of information covers you ...

History needs to be known. Without history, as without land, one cannot live. Forgetting history, you lose the land and turn into an exotic animal. And you will live not in the wild, but in the pen of a farm like ostriches somewhere between Luchai and Dunilovichi, even if this is your land and you were born HERE.

Afterword
Most of the success on the route is provided by the professionalism of the Land of Castles company.

Vilna baroque - a style that dominated in the middle of the 18th century on the territory of the Grand Duchy of Lithuania. Different researchers gave this style different names - these are both the late Belarusian baroque and the Basilian baroque. Some Polish researchers for temples of this style began to use the term "rococo"

One of the very first and most striking objects of the Vilna Baroque was the facade of the Carmelite Church in Glubokae (now used as an Orthodox church).

The main building of the temple was built in the 17th century and is a very interesting example of the Sarmatian baroque, which was discussed the day before last. The main feature of the temple is the presence of not two or one, but four towers, two on the facade and two at the altar. The towers near the altar have retained the original Sarmatian decor.

The main façade was redesigned around 1735 under the direction of the architect Joseph Fontana III.
His father, Dominic Fontana, was Italian, had the title of royal architect, and captain of the royal troops. He was married to a Grodno noblewoman, and their house was located in Grodno on Zamkova Street. Joseph Fontana inherited both his father's titles and remarkable talent.

The facade of the Carmelite church is not only one of the first, but also one of the best examples of the Vilna baroque. It traces almost all the characteristic features of the style.
Firstly, although a variety of temples were built in this style, this silhouette with two towers rushing to the heights became, one might say, the hallmark of the style. Another characteristic feature of the Vilna Baroque is the smooth curved lines. Even here, despite the restrictions imposed by the angular and rectilinear architecture of the original temple, the architect managed to soften the contours of the facade as much as possible.

This temple, built in 1843, was distinguished by its impressive size and a very rare layout for Belarus - a five-aisled basilica. In the 19th century, the temple was rebuilt, as a result of which its style became a mixed baroque-classical one.

In the 1930s, the temple was blown up.

Now the temple is being restored in the form that it received in the 19th century.

Vitebsk was a city in which the Vilna baroque was the dominant style. This happened "thanks" to the northern war and personally to Peter the Great. As you know, he supported the Saxon pretender to the throne of the Commonwealth, and the city's burghers collected a significant amount for his competitor.
Stanislav Leshchinsky. As a result, by order of Peter, the city was completely burned, and in this fire most of the city's temples were destroyed or badly damaged. The period of restoration just coincided with the period of the Vilna baroque.

Not far from the Assumption Cathedral, on the market square, a Resurrection Church was erected, also destroyed in Soviet times, and now being restored (fortunately, this magnificent example of the Vilna baroque is being restored in its original form):

There was also the Bernardine Church of St. Anthony:

In the same fire, the Annunciation Church of the 12th century was damaged and rebuilt in the Baroque style:

In the 19th century, it was rebuilt again in a pseudo-Russian style, and in Soviet times it was destroyed by three quarters. After the fall of the USSR, the temple was restored, in the form as close as possible to the original:

Unfortunately, from the entire baroque Vitebsk, only the town hall has come down to us in a form close to the original. The rest was either heavily rebuilt or destroyed.

The most famous architect of the Vilna Baroque was Jan (Johann) Christopher Glaubitz. A German from Silesia, he was invited by the Protestant community of Vilna to rebuild a Protestant church after a fire in 1837. The temple from which Glaubitz's career in the GDL began has survived to this day, although it is quite difficult to find:

Outside, the temple is very modest, but magnificent interiors have been preserved inside.

Many people liked the work of the architect, and after that, Glaubitz began to work very actively on the construction of new churches, and the rebuilding of old ones that had suffered in several major fires.

A striking example of the Vilna Baroque was the Church of St. Catherine:

The gates of the Basilian Monastery in Vilna became a textbook monument of the Vilna baroque:

And a vivid demonstration of the fact that the temples of the Vilna Baroque do not necessarily have two towers on the facade was the new facade of the Church of St. Yana:

(this temple was originally gothic and even on the baroque facade you can see the high gothic windows of the original building)

Another textbook temple of this style was Saint Sophia Cathedral in Polotsk. This temple got its baroque look also "thanks" to Peter the Great. As you know, the original Hagia Sophia was built in the 11th century in the Byzantine style. After a fire in the middle of the 15th century, the temple was rebuilt into a defensive Gothic temple, and has been rebuilt several times since then. During the Northern War, Peter the first killed the Uniate priests and monks who were in the temple and set up a powder warehouse there. With the departure of Russian troops from the city, the warehouse exploded, and only fragments remained of the temple.

Only a few decades later, by order of the Uniate Metropolitan Grebnitsky, Glaubitz built a new church on the site of the old one. We must pay tribute, the architect treated the original cathedral with respect. The surviving altar part was built into the new building and became one of the chapels of the new cathedral.

Partially preserved late-Baroque interiors:

A characteristic moment: if in Catholic churches the altar partition is completely absent, or is purely symbolic, in Orthodox churches there is a solid iconostasis, then the altar partition in Uniate churches often represented something in between, and in the last picture you can see that the partition is not solid, but has large openings.

As already mentioned, not all churches in the Vilna Baroque style had two high towers on the facade, often the towers were low or the facade had no towers at all.

So one of prominent representatives Vilna Baroque is the Church of St. Andrew in Slonim:

A very interesting element of this temple are the towers, rotated 45 degrees relative to the facade.

In the Uniate church in Boruny, the towers are not only deployed, but also spaced apart:

Unfortunately, only one of the two towers of the temple has been preserved. In the Borun temple, altars from the 18th century have also been preserved:

Now the Borunskaya church functions as a Roman Catholic church.

Another striking example of the Vilna baroque is the Uniate church in the village of Volno:

(unfortunately, the photo is not very good)

The temple has completely preserved the architecture of the facades, but that's not all, this is one of the rarest cases when the Uniate interior was completely preserved in a stone temple:

Only in the 19th century was a low iconostasis added.

Another interesting church built by Glaubitz is the Trinity Church in Hlybokaye:

Initially it was a small single-nave church. But after the Carmelite Church was transferred to the Orthodox, the question arose of expanding the Trinity Church. And at the beginning of the 20th century, the temple was expanded, while maintaining the original style. It should be said that this is one of the most successful examples of Vilna baroque stylization.

Many Sarmatian churches were not rebuilt in the 18th century, but received new interiors in the Vilna Baroque style. One of the most striking examples was the previously mentioned Bernardine churches in Slonim. Here is how the interiors of the Bernardine Church, made according to the sketches of Glaubitz, look like today:

In my opinion, this is one of the most elegant interiors of Belarusian churches.

No less impressive is the main altar of the Dominican church in Novogrudok:

Vilna Baroque affected not only Roman Catholic and Uniate churches, this style was also used in the construction of Orthodox churches (although in the middle of the 18th century they were very few)

According to the project of Glaubitz in Mogilev in 1740, the Transfiguration Cathedral was laid:

The temple was built with Russian financial support, so an element borrowed from Russian architecture appeared in the composition: four more “heads” were placed around the dome, forming a five-domed structure characteristic of Russian churches. But in general, the building is a quite typical late-Baroque temple with two towers on the facade.
Unfortunately, the temple has not been preserved. It was taken down before the war.

If appearance The temple is known from drawings and old photographs, then you can get an idea of ​​​​its late Baroque interiors, perhaps only by seeing the interiors of the Vilna Cathedral of the Holy Spirit, the interiors of which were created by Glaubitz at the same time:

Another Orthodox church, the Trinity Cathedral in Slutsk, also received Vilna baroque features during restructuring in the 18th century:

But it is not for nothing that the Vilna baroque is sometimes called the Basilian baroque. It was the Uniate churches that became the pinnacle of this style. We have already got acquainted with the St. Sophia Cathedral in Polotsk, but one of the brightest examples was the church in Berezvechie, a suburb of Glubokoe, which, unfortunately, has not come down to us.

Joseph Korsak in 1643 founded a Uniate monastery on the shores of Lake Berezveche, which was originally wooden, and in the middle of the 18th century a complex of church and monastery was erected on the site of wooden buildings.

This is what the temple looked like in the first half of the 20th century.

After the liquidation of the union, the church and the monastery were transferred to the Orthodox. In 1919, the Poles handed over the church to the Catholics, and the Polish border guards settled in the monastery (Deep is located in close proximity to the former Soviet-Polish border).

The interior of the temple, in the 30s:


The photo shows the original Uniate altar partition.

During World War II, the Germans organized a concentration camp in the monastery complex. With the arrival of Soviet troops, nothing changed in his fate, only the Gestapo officers were replaced by NKVD officers. The monastery is still used as a prison for especially dangerous prisoners. Therefore, photographing it is dangerous. It remains to look at old photos:

On the whole, the monastery building was preserved, but it was nevertheless mutilated, in particular, the baroque pediments on the building were badly damaged. And the amazing beauty of the church was destroyed in the 60-70s.

In general, a fairly large number of churches in the Vilna Baroque style have been preserved in Belarus, if in large cities a significant part was destroyed, then in villages and small towns a very decent number of small but very interesting Baroque churches have been preserved, especially in the western regions that came to the USSR only after 1939 of the year:

Dyatlovo:

Vornians:

Meadows:

Germanovichi:

Special mention deserves a discussion among researchers (mostly Polish) about the roots of the Vilna baroque, which models guided the architects who created Belarusian and Lithuanian churches. The two main versions are Italy (Piedmont region) and Germany. Of course, given the origin of Glaubitz, the most famous author of this style, and also the fact that during this period the Saxon dynasty ruled the Commonwealth, it is quite possible to speak of German influences. Moreover, the “medieval” silhouette with two high towers on the facade, characteristic of the Vilna Baroque, is very common in Germany, although it is also found in other countries. The origin of Joseph Fontana, gives food for thought about the Italian roots of the style.

Vilna baroque had a huge impact on wooden architecture, but this is a topic for a separate story sometime next time. :-)

P.S. And again I want to express my HUGE gratitude to the wonderful girls Elena and Olga for the pictures provided.

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Ministry of Education of the Republic of Belarus

Baroque culture in Belarus

Prepared by:

Puzankova O.A.

2 course, gr.1101312

Teachers:

Dubovitskaya Galina Alexandrovna

Belogortseva Natalya Sergeevna

Introduction

1.1 Baroque style features

1.2 Classicism and Baroque: distinctive features

Chapter II. The emergence of baroque in the Belarusian lands

2.1 Baroque in architecture

2.2 Baroque in graphics

2.3 Vilna Baroque

2.4 Baroque of Nesvizh

Conclusion

List of used literature

Introduction

The topic of my course research: "Baroque culture in the Belarusian lands". The Baroque era is one of the most interesting eras in the history of world culture. It is interesting for its drama, intensity, dynamics, contrast and, at the same time, harmony, integrity, unity.

The era I am considering created not only world masterpieces of artistic culture, but also reflected the worldview of people after the Renaissance, who saw the main order of life in its contradictions and believed that there is nothing that would not have its opposition. This topic seemed to me interesting and useful for our history. However, not much material is currently available on this issue, so I decided to try to consider this topic in more detail.

The relevance of the topic I have chosen is that by studying the culture of our country in the past, you can learn a lot of new things from our history, you can draw a parallel between the past and the present, and take something for yourself into our modern culture. In the era of universal globalization, the merging of all cultures, I would like to preserve a piece of my culture, to preserve its originality and originality. In order to draw attention to this problem, I chose this topic.

The object of my work is the development of the Baroque in Belarus, the subject is the Baroque in architecture, art, graphics.

This term paper is a description and proof that the baroque can be fully called an era, with its characteristic features inherent only to it.

Objectives of the course work:

1. Designate the time interval and specific features of the Baroque culture

2. Explore the uses of the Baroque

3. To characterize the characteristic features of the Baroque

My work is based on: Delenkovsky N.N. "Nesvizh", Mn. "Belarus" 1979

Durov I.T. "Baroque: the will to the diversity of the visible" in the magazine "Mastatstva" 2001 No. 3

Martynov V.F. "World Artistic Culture" textbook, Mn. "TetraSystems" 1999

Chapter I. The Origin and Development of the Baroque in Europe

1.1 Baroque style features

One of the dominant styles in European architecture and art of the late 16th-mid 18th centuries. century, the baroque was established in an era of intensive composition of nations and nation states(mainly absolute monarchies).

At different times, different content was put into the term "baroque". At first, it had an offensive connotation, implying absurdity, absurdity (perhaps it goes back to the Portuguese word for an ugly pearl). At present, it is used in art criticism to determine the style that dominated European art between Mannerism and Rococo, that is, from about 1600 to the beginning of the 18th century. From the mannerism of the Baroque, art inherited dynamism and deep emotionality, and from the Renaissance - solidity and splendor: the features of both styles harmoniously merged into one single whole. (3)

The term "baroque" has many meanings in the history of art. Among them are narrower ones, to designate artistic styles in the art of various countries of the 17th-18th centuries, or wider ones - to determine the ever-renewing trends of a restless, romantic worldview, thinking in expressive, dynamic forms, or in general as a poetic metaphor: "Baroque man" , "Baroque era", "Baroque world", "Baroque life" (Italian "La vita Barocca"). Finally, in every time, almost in every historical artistic style, they find their own "baroque period" as a stage of the highest creative upsurge, tension of emotions, explosive forms. And all this, apart from various options neo-baroque in the cultures of different countries and times.

In the most famous sense, Baroque is a historical artistic style that first spread in Italy in the middle of the 16th-17th centuries, and then partially in France, as well as in Spain, Flanders and Germany in the 17th-18th centuries.

Formation historical style Baroque is associated with a crisis of ideals Italian Renaissance in the middle of the 16th century. and the rapidly changing "picture of the world" at the turn of the XVI-XVII centuries. At the same time, the previous century was artistically so strong that it could not "disappear completely" or end abruptly at any particular stage. And this contradiction is the essence of all collisions of the artistic style of the Baroque.

It was an era of fundamental turns in the development of human thought. It was prepared by great geographical and natural scientific discoveries: the invention of printing by Johannes Gutenberg (1445), the first voyage of Christopher Columbus to America (1492), the discovery of the sea route to India by Vasco da Gama (1498), the circumnavigation of Magellan (1519-1522), the discovery Copernicus of the motion of the Earth around the Sun, which became widely known by 1533, the studies of Galileo, Kepler, the creation of classical mechanics by Isaac Newton.

In the 50s of the XIX century. the consideration of the baroque as a historical style, a natural stage in the development of the art of the late renaissance, begins.

In the 80s of the XIX century. there is a real "discovery" of the baroque: the work of Gurlit, Wölfflin, Justi. The baroque was recognized as having the right to exist as a special artistic phenomenon.

In the 20s of the XX century. there is a crisis of the capitalist worldview. Awakens interest in local, national variants of the Baroque. Periodization is given, historical boundaries are established.

The style manifested itself most clearly in architecture. It is typical for her

1.Strengthening of visual features; in particular, in the compositions of facades:

2. Stylization of some forms under others (the church of Sant Ivo Barramini. The plan of the building is made in the form of a bee).

3. Excesses of various kinds (detailing, abundance of decorations).

Representatives: Francesco Barromini. Church of St. Carlo alle Quadro Fontane in Rome.

Bernini Lorenzo. Being a great architect, he was an excellent graphic artist, draftsman and sculptor. The most famous works:

"David" - dynamism (the body is turned around its axis), muscle tension, facial expression. "Altar of St. Teresa" in the church of Santa Maria della Vittoria: "... the wall of the altar semicircle is dissolved by a supernatural unstoppable force. majestic sculptural compositions forward. Massive columns with heavy capitols are more voluminous than the pilasters behind them. From behind the columns, a throne hanging on petrified clouds protrudes forward, around which four statues stand. Golden rays, breaking out from behind the clouds, illuminate this vision in a magnificent sheaf ".

Baroque architecture is syncopated rhythms of collisions of masses, confrontation of inert volume and a dynamic sense of space, the materiality of the wall and illusory depth, the oncoming step of the verticals of the columns and the repeatedly unfastened horizontals of the cornices. And one more expressive means of the Baroque: implausibility of scale, inhuman measurements of overly enlarged details. The portals of Roman churches, doors and windows began to exceed all reasonable limits with their size. It was the "architecture of giants". The drama of Baroque art consisted in the clash of the real physical properties of the material, the inertia of mass, gravity, the inertness of matter and the flight of creative imagination, the desire to break out of physical limits. Architectural masses and volumes were set in visual motion, a restless state by an effort of creative will, incredible tension, and the internal conflict of style consisted in their resistance. Such inconsistency of the composition was manifested in the fact that the architecture seemed to explode from within. This explosion, "break", was aesthetically evaluated positively, in contrast to the classics, as "beautiful", that's where some "strangeness", unnaturalness of the artistic image, theatricality, far-fetchedness, "sham" come from.

In sculpture, there was the following trend: the human figure against the background of the building is likened to a concert for voice and orchestra. The figures go beyond the niche, the frame becomes a three-dimensional form, which you can enter. Sculpture resembles painting, painting resembles sculpture. An important sculptor was Antonio Canova, whose first works are a reflection of the Baroque style. The choice of plots related to the biblical, mythological themes of a heroic or dramatic plan is characteristic. His works are notable for their monumentality, unusualness, pretentiousness, dynamics of angles, general dramatic sound ("Orpheus", "Hercules and Lichas"). Gradually, Canova moves away from the Baroque style and his best works belong to classicism. Italian Baroque painting brought a number of names to the stage: Sebastiano Ricci.

Giovanni Batisto Tiepolo is an artist of the widest scale, a magnificent improviser. His paintings belong to the pen: "The Feast of Cleopatra", "Two Saints", "The Death of Dido", "Patron representing the liberal arts to Emperor Augustus".

The baroque style includes the work of Alessandro Magnasco, but in his works purely baroque features: dynamism, spectacular image, got a different color - everything seems to be seen in a dream, which is told with a touch of painful irony and demonstrative sarcasm.

Among his works are such as "The Unbelief of Thomas", "The Assumption of Mary", "The Entombment", "The Mandolinist", "The Calling of the Apostle Matthew", "The Conversion of St. Paul".

1.2 Distinctive features of classicism and baroque

If we talk about the art of the 17th century, here we will see the formation of two major pan-European styles: classicism and baroque. The first was an aesthetic expression of the ideas of absolutism and received its main development in France. His artistic goal is to transform reality through the prism of the classic aesthetic ideal, built on rational foundations.(14)

Classicism - an artistic style that dominated Europe for almost two centuries - manifested normative art, the ideal examples of which he found in antiquity. The classicists purely mechanically transferred the norms of ancient culture to modern times. Operating with the concepts of harmony and beauty, he did not look for them in life, but only in the heritage of the past. From a historical point of view, classicism was an unconditional step back in the cultural development of society, and its ideological concentrate was aimed at justifying and exalting the hierarchical structure of society, crowned by an enlightened monarch. The theoretical attitudes of the classicists were striking in their dogmatism and intransigence, in fact, they limited the artist in all respects, dividing genres into high and low, syllable into sublime and common folk, dressing the heroes of the new time in an ancient toga and turning the artist’s gaze away from reality, from the true collisions of time. (4 )

Each genre has strict boundaries and clear formal features; no mixing of the sublime and the base, the tragic and the comic, the heroic and the mundane is allowed. In the plastic arts, the premises of classicism were already emerging in the second half of the 16th century. in Italy in the architectural theory and practice of Palladio, the theoretical treatises of Vignola, S. Serlio; they are more consistently expressed in the writings of G. P. Bellori (XVII century), as well as in the aesthetic standards developed by the academicians of the Bologna school.

However, throughout the 17th century classicism, which develops in interaction and polemic with the baroque, only in french art turns into an integral style system, and becomes a pan-European style in the XVIII -early XIX centuries The architecture of classicism as a whole is characterized by the geometrism of emphatically static forms and the logic of planning, the constant appeal to the forms of ancient architecture, while not only following its individual motives and elements, but comprehending its general tectonic patterns. (1)

The main principles of classicism are as follows: a socially significant character, monumentality, imitation of the ancient ideal, moralizing, normativity (manifested in the system of three unities and the hierarchy of genres). The archetype of classicism can be called "crystal". Figures of classicism: poet Nicolas Boileau, playwrights Pierre Corneille, Jean Racine, comedian Jean-Baptiste Moliere, artist Nicolas Poussin. Baroque acts as an antithesis to classic art. It is characterized by the movement of large masses of matter, affect, impulse, pathos. The baroque archetype can be called "germinating grain". Among the representatives, we single out the sculptor Lorenzo Bernini and the artist Peter Paul Rubens.

In contrast to classicism, baroque aesthetics asserted qualitatively different principles of world perception.

Firstly, in the baroque, the tendency based on the awareness of the conditionality of any order, harmony was most visibly manifested, the growing dynamics of thought and feeling was most fully embodied. Under influence scientific discoveries, which expanded the horizons of knowledge, posed complex, insoluble questions, pointed to the infinity of being, a person begins to feel the obvious insufficiency of rationalistic thinking.

Secondly, in the aesthetics of the Baroque, the tendency to increase the transformed energy, the landing of society from the natural world was transformed. It is no coincidence that Bernini said that nature is weak and insignificant, but to achieve beauty it is necessary to transform it. Art is higher than nature, just as the spirit is higher than matter, as mystical illumination is higher than the prose of life. With the help of a new aesthetic, man tried to go beyond visible world, beyond the realm of possibility. The Neapolitan poet D. Marino clearly expressed the most important principle of the Baroque: the poet's goal is the miraculous and amazing. He must surprise. That is why a new type of attitude asserted expression, impulse, dramatic brokenness of life, ambiguity. It was dominated by the energy of strong feelings, the world is uncertain, changeable, illogical. The baroque embodied ideas about the infinity of the Universe, the acute ambivalence of human existence. From the point of view of the new artistic logic, the personality was considered as multifaceted, with a contradictory inner world, with intense emotional life. Aesthetics was built on the collision of man and nature, the ideal and the real, reason and the power of irrational forces. The classical clarity of forms, clarity, semantic evidence, structure, tectonicity in the image of the world is ignored.

In baroque aesthetics, interest is growing not only in perfect manifestations of being that amaze the imagination, but also in disharmonious, fantastic, grotesque and even ugly. The importance of the elements of entertainment and spectacular impact is growing.

Thirdly, the interests of the monarchy, the highest aristocracy, were realized in the Baroque aesthetics. With the destruction of absolute trust in God, the monarch begins to appropriate the function of the absolute. The will of the king is the supreme law for all. Therefore, the objective world that surrounds the monarch should cause quivering reverence. Hence the sparkling splendor, pomp, pomposity, excessive luxury, impressiveness that strikes the imagination of mere mortals. This radiant grandeur, wealth becomes a synonym for beauty. The palace was no longer a fortress, as in the Middle Ages, but a paradise of earthly pleasures immersed in luxury, which had galleries, huge, spacious halls of mirrors, where tables, chairs, and eating utensils were made of gold. On holidays, thousands of candles shone dazzlingly in gilded halls, reflecting the splendor of rich clothes studded with precious stones. Ceremonial interiors were decorated with multicolored sculptures, moldings, and carvings. The painting of the plafonds created the illusion of open vaults. Baroque gardens, seeking to expand the space of palaces, embodied the pathos of abundance in the form of a variety of aromatic plants, trees, huge fountains. Here, the desire for relaxation from the serious comes through clearly. If in the fountains of the Renaissance the murmur of water was supposed to set you up for reflection, then in the gardens of the Baroque, fountains, cascades, waterfalls were designed to amaze, amaze, captivate with spectacular effects. There are even musical devices in them.

Urban architecture was also formed in the Baroque style: building ensembles, streets, squares, parks began to be considered as a limited aesthetic whole functioning in space, unfolding in a variety of ways before the viewer. The desire for pomposity, splendor led to the fact that the city gates became antique triumphal arches, statues of famous mythological heroes appeared on the market squares. Even confectioners made cakes depicting mythological characters. They tried to convey all the most ornate, bizarre feelings with the help of external forms.

Fourthly, the artistic logic of the Baroque embodied the interests of the Catholic Church. The ideologists of Catholicism had to fight not only with non-Christian religions, atheism, but also with Orthodoxy, Protestantism, which demanded the democratization of religious relations, cheapening the church hierarchy, opposed the cult of external piety, defending the self-sufficiency of internal religiosity. Intensifying the struggle to retain their influence, Catholic Church relied on such a proven means as art. Religious buildings in the baroque style, striking the imagination, glorifying the power of God and his representatives on earth, had the best effect on inner world person. As a result, such manifestations as mysticism, exaltation, irrationalism, representativeness, monumentality, diversity, the desire for dematerialization, dramatic intensity of feelings and, often, tragedy, were fixed in the baroque ethics. The Mass became more and more of an exciting theatrical spectacle. It is characteristic that in this era many Romanesque churches were converted into Baroque ones, as they seemed insufficiently expressive.

The fundamental principle of the classics - proportionality to the human body, restraint were replaced by the exact opposite - inconsistency, grandiosity, fantasy, expressiveness

Chapter II. The appearance of Baroque in the Belarusian lands

2.1 Baroque in architecture

In the field of architecture, baroque, in Belarus it is represented mainly by churches, monasteries, a palace complex. Nesvizh Jesuit Church, Grodno Church and Jesuit Monastery, Golshany Palace also belong to this architectural style. The artistic system of the late baroque in monumental, cult architecture was called the "Vilna baroque". Baroque features began to appear in the visual arts in the first half of the 17th century. First of all, in the sculptural design, and the painting of churches and monasteries. In the second half of the 18th century, the Baroque style also became dominant in icon painting, where its features were combined with the traditions of Byzantine and Old Russian art. The best monuments of architecture of this period include: the Bernardine and Jesuit churches in Grodno, the town hall and the Epiphany Cathedral in Mogilev, the church in Pinsk and others. by the famous Italian architect Bernardoni, modeled on the church of Il Gesu in Rome. The church was called farny, because it pointed and illuminated the path to God, like a beacon for sailors on the island of Pharos. Under the church is the family tomb of the Radziwill family. Here, in Nesvizh, Bernardoni also erected a palace and castle complex with a park and an irrigation system. The castle was surrounded by a rampart (20 m high) and a deep moat with drawbridges. The palace itself (the residence of the Radziwill magnates) was a three-story building with octagonal corner towers. It consisted of 12 halls, decorated with carvings, paintings, fireplaces, and tiles. It housed the famous Nesvizh Gallery and a rich library.

Gradually, in architecture, the early baroque was replaced by later, which in Belarus and Lithuania acquired national features and was clearly manifested in the so-called "Vilna baroque". The most famous representative The last was the European master Jan Krishtof Glaubitz - the author of the designs of the Church of John the Baptist in Stalovichi (1740-1746), the Carmelite Church of the Assumption of the Virgin with a monastery in Glubokoye, Vitebsk region (1735) and the reconstruction of the famous Polotsk Sofia - at that time the Uniate church ( 1738-1750). outstanding monument Baroque architecture is also the church of St. Andrew in Slonim, Grodno region, which stands out for its dynamism, picturesqueness, refinement of volumes and forms. The Franciscan church in Golshany, the Exaltation of the Cross Church in Zhirovichi, Grodno region, the church in Budslav, Minsk region, the Jesuit Collegium and the Varvara Church in Pinsk and others were built in the same style.

In the middle of the 18th century, later baroque began to be supplemented with features of a new style - rococo. This organic combination of two styles manifested itself in the work of the architect M.D. Pepelman, who worked in Grodno. Built according to his design new castle(1737-1744), residence of the Polish king.

At the same time, the magnificent magnate residences of the Sapiehas in Ruzhany, the Oginskys in Slonim, and the Tyzengauzes in Grodno were erected. In the style of classicism, the palace of P. Rumyantsev was built in Gomel (1785), which organically combined with the park area located on the banks of the Sozh River. Such palaces were most often built in open areas, decorated with garden and park ensembles, architectural molding, wood and stone carvings, and wall paintings. Such estates have become real centers of cultural life in Belarus and Lithuania. Belarusian magnates surrounded themselves with luxury. They ordered the best architects, artists, and musicians from abroad.

2.2 Baroque in graphics

In graphics, this style is most evident in the genre of book engraving. Local masters of the book of the 17th-18th centuries developed a special style of the Belarusian baroque, which was characterized by restraint of forms and connection with folk art. Baroque features appeared in all kinds of arts and crafts: weaving, glassware, glazed ceramics, woodcarving, jewelry. Literary Baroque, as a new artistic style, first emerged in Italy and Spain. Then it spread to the lands of Poland and the Czech Republic, and through these countries came to the territory of modern Belarus and Ukraine. And only later, approximately in the middle of the 17th century, the traditions of the Baroque began to expand, primarily due to the creative activity of Simeon of Polotsk, and to Russia. For the works of the Belarusian baroque, a synthesis of medieval and renaissance traditions, plots and forms, paradoxicality, a combination of the real and the unreal, the desire to surprise the reader as much as possible, to influence his emotions and feelings are inherent.

2.3 Vilna Baroque

At the turn of the XVII-XVIII centuries, the position of the Uniate church was strengthened, and it was in the Uniate religious buildings that the original features of the late Belarusian baroque began to take shape, which received the name "Vilna" in art criticism of the 1930s, because Vilnius, as the capital of the state and its cultural the environment concentrated the spiritual potential of the entire region. The orientation of the main façade to the south, which is canonical for Uniate churches, played an important role in the development of original decorative techniques of the Vilna Baroque, which made it possible to further enrich its artistic expressiveness.

The features of the Vilna baroque, as a result of a unique confessional situation, became characteristic of both Orthodox and Catholic church construction in the Grand Duchy of Lithuania. However, with the general artistic direction for the architecture of many churches of the 18th century, a more concise form is characteristic, in which the influence of the Italian Baroque is evident. The first and most perfect examples of the Vilna baroque on Belarusian soil are the church in Polotsk (St. Sophia Cathedral) and Berazvechchi near Glubokoe, which are like majestic sculptures molded from obedient soft material. The Vilna baroque is characterized by Romano-Byzantine influences and the richest plastic development of facades and interiors. The formation of these features was undoubtedly facilitated by the very essence of the Uniate Church, which is characterized by a combination of traditional elements of Orthodox and Catholic architecture. Vilna baroque - the scientific name of the late baroque in the monumental religious architecture of Belarus and the Vilna region (unofficial name - Uniate baroque); created on the basis of a creative synthesis of Byzantine and Western European art, a variety of the Baroque artistic style, which spread in the second and third quarters of the 18th century. in the area of ​​distribution of the Brest Church Union on the territory of the Vilna Roman Catholic diocese. The Uniate church became the soil for the growth of the artistic principles of this style. Formation of the architectonics of Uniate churches based on the traditions of local architecture, taking into account Eastern and Western artistic influences, liturgical requirements and confessional symbols of both the Catholic and Orthodox branches of the Christian cult, led to a bright national identity Vilna Baroque. The architectural monuments of this school are distinguished by the refinement and verticalism of proportions, the sculptural plasticity of facades and interiors, the picturesqueness and harmony of the silhouette created by multi-tiered openwork towers, figured pediments and wavy facades. From the mature Belarusian baroque of the 17th century. with its restraint, massiveness and deep inner expression, Vilna was distinguished by dynamism, lightness, and freedom. In the Catholic construction of the second half of the eighteenth century. artistic characteristics Vilna Baroque found a smaller embodiment, moreover, more bulky monumental forms are characteristic of the Catholic churches of this period. An important role in changing the church architecture of the GDL was played by the Polotsk Uniate Archbishop, later Metropolitan Florian Grebnitsky, who rebuilt at his own expense several of the most significant shrines in the territory of his diocese (Polotsk St. Sophia Cathedral, the Cathedral and the Church of St. Nicholas in Vilna). In the construction of Uniate churches according to Western architectonic patterns, one should see not a desire to Polonize Belarusians, but the desire of the Uniate hierarchy to modernize their "old-fashioned", simple and severe, against the backdrop of spectacular baroque architecture, shrines in accordance with the spirit of the time, to "slander" them, to remove from them the image of a poor "cotton" church and raise the prestige of their confession. The heyday of the Vilna baroque is associated with the work of the outstanding architect Ya.K. Glaubitz, who for 30 years (1737-1767) worked in Belarus and Lithuania in religious and palace architecture. Its most significant building is the Uniate Church of St. Sophia in Polotsk (1738 - 1750, together with B. Kosinsky), erected on the site of a shrine of the 11th century, blown up by order of Peter I's close associate Alexander Menshikov in 1710. With its unusual, hitherto unknown harmony, refinement and vertical striation, it made a vivid impression on contemporaries. The activities of the Italian architect Fontana III and the Belarusian A. Osikevich contributed to the spread of the Vilna Baroque style in Belarus. The features of the Vilna baroque were most clearly manifested in the Uniate religious buildings: the Basilian churches in Berezveche near Glubokoe, Vitebsk region. (1756 - 1763), Boruny (1747 - 1757), Volno (1768), Tolochin (1769 - 1779), Epiphany and Holy Cross Churches in Zhirovichi (1769), Resurrection Church in Vitebsk (1772), as well as in the Carmelite Church in Glubokoye and others. The pinnacle of the Vilna Baroque is the Peter and Paul Church in Berezveche. With a common traditional structure - a three-aisled two-tower basilica - the building has a bold and innovative image. The building material here seems to have softened and floated in waves of convex and concave curves - the building seems to be cast and molded from some kind of plastic mass. Damaged during the Great Patriotic War, the temple was finally destroyed in 1960. One of the most perfect examples of the Vilna baroque is the Uniate church in Boruny, built under the guidance and design of the monk of this monastery, architect Alexei Osikevich. A new solution of the external volume and interior, which is not characteristic of either Orthodox or Catholic religious buildings, was used in the Zhirovichi Holy Cross Church - a kalvarium temple that imitates the path of Christ to Golgotha. The gracefulness of proportions, the showiness of refined architectural plasticity, the slenderness of the silhouette make it possible to rank it among the most harmonious works of cult architecture of this artistic style in Belarus. The largest achievement of the architecture of the Vilna baroque in Belarus with its characteristic illusion of movement, take-off, undulation, the upward direction of the spiritual energy of matter was the Assumption Church in Vitebsk, built in 1715 - 1743 according to the project and under the direction of Fontan III. Monuments of enduring historical and cultural significance and high artistic merit, made in the Vilna Baroque style, Belarus entered the history of European architecture.

2.4 Baroque of Nesvizh

One of these beautiful cities in Belarus is Nesvizh.

At the beginning of the 16th century, in Belarusian and Polish chronicles, for the first time, the Radziwills were named among the most influential families of the Grand Duchy of Lithuania. Since that time, their weight in the political, economic and cultural life of the country has become more and more. This widely branched genus gave famous statesmen, diplomats, courtiers, writers and musicians.

They left us a lot as a legacy; among the great variety, the castles and palaces of Nesvizh are distinguished by their beauty. The architectural monuments of this city make it possible to trace how the baroque appeared and developed in Belarus.

Baroque buildings appeared with the participation of the Jesuits. Among them, a valuable architectural monument is the Jesuit church in Nesvizh. Jan Maria Bernardoni was the author of the project of the Nesvizh church and supervised its implementation until the consecration. In the project, the architect used the compositional structure of the Roman temple of Il Gesu, a three-nore cross-domed basilica. However, the talented artist also caught the local specifics of monumental architecture. In the Roman church, the facade covers the rest of the building, so all the attention of its creators was directed to the development of the main facade. And in Nesvizh, low urban development and an earthen rampart made it possible to perceive the building from all sides. Bernardoni not only highlighted the protruding faceted chapels on the side facades, but also architecturally processed the side and rear facades. Its architectural outline seems to be repeated on the rest of the façades: the gimps of the pilasters of the first tier of the main façade are laid on the sides in the form of a cornice. The building rises freely and solemnly, crowned with a high dome with a light lantern.

Basic baroque means of expression concentrated on the main façade. It has a central axis of symmetry along which the rhythm of order elements grows. Flat pilasters placed in two tiers stand out. Bernardoni was able to express the monumentality and verticality of the volumes, which are characteristic of Belarusian architecture. Sculptures were placed in the upper niches of the facade.

It is characteristic that in the 16th century brick structures, with the exception of niches, did not have external plaster. It is possible that the Nesvizh church was one of the first buildings in Belarus, the facades of which were plastered and whitewashed. For the first time in the region, statues of saints were also used.

The dome of the temple plays an important role not only in appearance, but also in the interior, where he unexpectedly highlights the oblong, semi-dark room of the basilica with light, as if raising and expanding the space. The drum of the dome is supported by spherical painted sails. The walls between the windows on the light drum are also painted. Painting completely covers the dome itself, in the skuf of which a hole is made. The light pouring from there illuminates the under-dome space with diffused flickering light. Architectural motifs play an important role in the picturesque canvas: niches, broken cornices and pediments.

Inside the building, N. Sirotka erected several monuments - tombstones. One of them is a marble bust of the seventeen-year-old son of the Orphan, who died in Bologna. His headstone is made in the Baroque style. (10)

ending far from full review history of the Nesvizh church, I would like to emphasize once again that its architectural appearance is free from the excesses of the baroque. The composition is strictly logical, it is alien to the later pretentiousness of this style. Of great interest is the building that has survived to this day, which is usually called the "house on the market". It was built in 1721, located to the west of the town hall and could have belonged to an artisan or a merchant. The most interesting is the main facade wall. Its high curly contour hides a two-story roof. In general, the building corresponds to the Baroque style, typical for the architecture of the first half of the 18th century. On the facade, there is a noticeable asymmetry in the breakdown of window and door openings, but it is smoothed out by the symmetrical configuration of the wall, the same arrangement of air vents in the corners of the gable.

The Nesvizh "house on the market" is the only example of urban housing in the first half of the 18th century with a baroque facade that has survived in Belarus.

To the south of it is the complex of the former Benedictine monastery. Like the Bernardine and Jesuit monasteries, it was part of the city's defense system. The founder of the Nesvizh Benedictines was the wife of Radziwill Orphan Euphemia. In their own temple, she is buried along with her two daughters.

The church and the monastery of the Banedictines were built at the same time. In 1590 - 1595, and represent a single architectural complex. The monastery had a U-shape in plan, and a church was "built" into it along the axis of symmetry. In the architecture of the Benedictine church - a traditional composition that has the features of Romanesque architecture and is combined with Baroque plastic and colorful forms.

The entrance to the church was made not in the main facade, but on the side - it passed through the premises of the monastery. The temple had seven altars, of which the main one is decorated with columns of the Corinthian order and sculptures of saints.

The ensemble is complemented by a three-tier gate tower built in the 18th century in late baroque forms. It is located separately from the monastery. Inside, the tower is four-tiered, its corners are decorated with pilasters, and the openings are decorated with figured frames. Together with the over-the-wall tower, the over-gate tower creates an expressive silhouette composition.(10)

The park "Alba" (translated from Latin - "white") is far known. It is located in the southern suburb of Nesvizh. Radziwill the Orphan built a hermitage here with a palace for summer amusements, which he called (consolation, joy), and also opened a menagerie.

Huge transformations, the construction of new buildings and Alba took place in the middle of the XVIII century. The serfs planted alleys, built canals, reservoirs. At that time, the park consisted of three parts: the palace, the menagerie and the adjoining forest. Buildings of the 16th century have already collapsed. Therefore, the architect Leon Lutnitsky was commissioned to build a new summer palace and one hundred and eighty idyllic houses. The summer residence of the Radziwills - the Altana Palace - was built like the Cathedral of St. Sophia in Constantinople. Wooden pseudo-peasant houses resembled Belarusian thatched huts, here there were dwellings in the Chinese, Japanese, Swiss style, fantastic buildings, the style of which defied definition. Instead of numbers, according to the old custom, they were decorated with signs, most often - animals. The houses were named Elephant, Camel, Eagle, Bear. Near each of them there was a bathhouse.

In Alba there was a greenhouse, an apiary, swans swam on artificial reservoirs, deer, elk, bison lived in the menagerie, which were driven from the forests of Polissya.

The legends say that Prince Pane Kokhanku of Nesvizh rode the "Alba" in a sleigh pulled by bears along the road sprinkled with salt in the summer.

In 1812, all the buildings and "Alba" were destroyed. Only alleys and ponds have been preserved. 500 year old mighty oaks, 7 meters thick and centuries-old lindens, the tallest trees in the area, remained to live.

Nesvizh palace and park ensembles are of great value. Amazing in beauty, unique in dendrological composition, compositional solutions, romantic style they are a kind of autograph left by past generations.(15)

Baroque features appeared in all kinds of arts and crafts: weaving, glassware, glazed ceramics, woodcarving, jewelry. Literary Baroque, as a new artistic style, first emerged in Italy and Spain. Then it spread to the lands of Poland and the Czech Republic, and through these countries came to the territory of modern Belarus and Ukraine. And only later, approximately in the middle of the 17th century, the traditions of the Baroque began to expand, primarily due to the creative activity of Simeon of Polotsk, and to Russia. For the works of the Belarusian baroque, a synthesis of medieval and renaissance traditions, plots and forms, paradoxicality, a combination of the real and the unreal, the desire to surprise the reader as much as possible, to influence his emotions and feelings are inherent.

Conclusion

The term "Baroque" has many meanings. Elements of the Baroque style in England (Restoration Stuart style; Jacob style; Anna style; Mary style.) In Germany, the struggle between the Reformation and the Counter-Reformation, on the other hand, was also reflected in art in the forms of the Baroque (Saxon art). In the era of Neoclassicism and the Enlightenment of the second half of the 18th century, in particular in the works of J.-J. Rousseau, Baroque was considered a manifestation of bad taste and "a distortion of the rules of truly beautiful art." Then, at the turn of the 18th-19th centuries, in connection with the establishment of the ideas of Romanticism, the point of view begins to dominate, according to which, along with the classical, there can be other art. As a major historical artistic style, the Baroque was first considered in G. Wölflin's book "Renaissance and Baroque" (1888). At the same time, many researchers, including Wölfflin, understand the term Baroque more broadly, as a romantic trend of "transformation of forms". Therefore, one often speaks of the passage of the "Baroque phase" in the historical development of any artistic style. "Antique Baroque" refers to the dynamic, expressive Hellenistic style of the sculptors of the Pergamon school of the 3rd-2nd centuries. BC e. There is the term "Hellenistic Baroque", which defines the features of the architecture of Asia Minor in the 2nd century BC. AD, where the old boundaries of classical Greek, Western Latin and "barbaric" Eastern culture were erased.

The Baroque style found a very special implementation in the history of Russian art. According to D. Likhachev, the "Russian Baroque" of the 17th century. "took over many of the functions of the Renaissance," since "the real Renaissance had not previously been able to fully manifest itself in Rus'." This, in general, coincides with the statements of N. Kovalenskaya, B. Vipper about the discrepancy between the logic of the development of styles in Russian and Western European art of the 17th-18th centuries. Hence the rather conditional names of the styles of "Golitsma" and "Naryshkin baroque" in relation to the architecture of Moscow in the 17th century, as well as the metropolitan, but extremely remote from Europe, "Petrine baroque" of the beginning of the 18th century. (6, p.34)

Thus, the baroque culture occupies a huge historical space: the turn of the XVI-XVII centuries - XVIII centuries. Its appearance was a historically natural process, prepared by all the previous development of the baroque antinomy, coexists with intense spiritual quest. The sensual beauty of baroque art is the key to love for it. But it is addressed not only to the heart. Heart and mind, love and knowledge - these are a number of antinomies related to the sphere of perception of art.

baroque architecture

Bibliography

1. Belik A.A. "Culturology. Anthropological theories of cultures", M. 1999

2. Delenkovsky N.N. "Nesvizh", Mn. "Belarus" 1979

3. Durov I.T. "Baroque: the will to the diversity of the visible" in the magazine "Mastatstva" 2001 No. 3

5. Stolyarov D.Yu., Kovtunov V.V. "Culturology" textbook for students distance learning, M. 1998

6. Yakimovich Yu.A. "Architecture of Belarus", Mn. "Science and technology" 1991

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Last time I talked about the very first baroque church in Belarus and throughout the territory of the Commonwealth - the Nesvizh Jesuit Church.

Today I will tell you how architectural styles developed in the next century.

The Nesvizh church (and its prototype - the Roman Il Gesu) certainly influenced the architecture of Belarus, almost immediately a number of temples appeared, with similar early baroque facades:

For example, the Bernardine Church in Grodno, built at the beginning of the 17th century at royal expense:

The Franciscan church of 1635 has a similar facade.

Several similar temples were erected in the capital. With minimal changes, the Vilna churches of St. Teresa and All Saints, first half of the 17th century.

Temples with a similar facade were built in the future, up to the first half of the 19th century, for example, the Exaltation of the Cross Church in Lida in the middle of the 18th century:

But most architects were in no hurry to succumb to new trends, and therefore, in most churches of the 17th century, traces of previous eras are visible - the Renaissance and even Gothic.
This can be seen even in the aforementioned Grodno Bernardine church. If its main facade is designed in the early Baroque style, the side facades and apse are a mixture of Gothic and Renaissance: high windows, buttresses:

In many ways, such conservatism is due to the ideology that was dominant at that time: Sarmatism.
Its name comes from the theory that many Slavic and Baltic peoples descended from the ancient tribes of the Sarmatians. Sarmatia was the name of the territory in which the Jagielons ruled in the 15-16 centuries, in particular, Poland, the Grand Duchy of Lithuania, the Czech Republic, and sometimes part of the territory of modern Russia. So the most famous work of A. Gvagnini was called "Chronicles of European Sarmatia" (1578).

Sarmatism was extremely conservative ideology. Extreme piety was considered an ideal, the merits of the gentry of the Commonwealth in the fight against the "infidels", in particular the Turks and Tatars, were emphasized. A patriarchal way of life was considered ideal, a Catholic gentry was considered an ideal citizen, who in peacetime takes care of the household, and the military acts like a warrior, while all the fullness of power in the state was declared behind the gentry. In many ways, it was thanks to Sarmatism that the concepts of “golden freedoms” of the gentry appeared, and the principle according to which, not a single law could be adopted at the Seimas if at least one of those present spoke out against it.

Most churches of the early 17th century look more like Gothic and Renaissance churches of the 16th century than baroque ones. The most common type of temple during this period was a temple with a massive tower on the main façade.

A typical example is the Nesvizh Church of the Benedictines, built in the late 16th and early 17th centuries at the expense of the wife of Radziwill, the Orphan Elzbieta Euphemia.

The monastery buildings have survived to this day, and the building of the church, which is one with them:

Unfortunately, the tower of the church, which can be seen in old drawings and photographs, has not been preserved:

(in the foreground - the tower of the 18th century, preserved to this day)

Another surviving temple of this type is the Bernardine Church in Slonim.

There is also a massive tower on the facade of the temple, with a very restrained, one might say minimalist decor. The side facades of the temple also have Gothic features: high windows and buttresses:

The temple was built in the first half of the 17th century. A few decades later, two chapels were added to it, which, unlike the main temple, have more baroque elements: domes complex shape, more smooth lines and a little more decor.

In the same period, churches without towers were also built, with a simple Renaissance facade. A typical example of such a church is the church of St. Barbara in Zamość in 1620:

There are also quite archaic buildings, repeating the Gothic-Renaissance type of temple-fortress, common a century earlier. In particular, the church in Kamai in 1606:

Despite all the conservatism of this era, a new type of temples appears, which will later become the most common in Belarus: temples with two towers on the facade.

One of the first temples of this type was the church of the Brigitok monastery in Grodno, built in the 30s of the 17th century:

There is also a mixture of baroque and renaissance elements, special interest presents a Renaissance frieze in sgrafito technique.

In the first half - the middle of the 17th century, Renaissance traditions were preserved not only in the external decoration and silhouette of temples, but also in interior decoration. In some churches of this period, Renaissance stucco molding of the vaults has been preserved.

In particular, the monastery in Druya

Built in 1646, it originally had a flat Early Baroque façade, without a tower. In the interior, stucco molding of the 17th century has been preserved on the vaults and columns:

Renaissance stucco in the side nave of the Dominican church in Novogrudok (first half of the 17th century):

In the middle of the 17th - early 18th centuries, a paradox was observed in temple construction, despite the fact that chronologically this is the era of the mature Baroque, the external decoration of the temples became more and more strict and restrained, even compared to the early Baroque. This style was called Sarmatian Baroque. Temples again, as in the Gothic era, began to resemble small fortresses. Typical examples of this era:

Farny church in Novogrudok, early 18th century:

Church in Zasvir, 1714:

(the ruins in the second picture are the remains of the monastery)

Church of the Carmelites in Mstislavl, 1637

(This temple was later rebuilt under the guidance of the master of the Vilna baroque I.Kh. Glaubitz, and therefore has more pronounced baroque features, but the overall massive Sarmatian silhouette has been completely preserved).

Several temples in the Sarmatian style were located in Minsk:
Temple of the Benedictine Monastery (was heavily rebuilt after being handed over to the Orthodox in the 19th century and demolished after the war)

Church of the Bernardino Monastery (Now the Orthodox Cathedral of the Holy Spirit) of the middle of the 17th century

This temple, like the Mstislav one, was rebuilt in the 18th century, received late-Baroque multi-tiered towers, but the side facades and the lower tiers of the towers retained their original style.

And many consider the Augustinian church in Mikhalishki (second half of the 17th century) to be the standard of the Sarmatian baroque:

The temple is typical of its era: a deliberately austere decor, a massive almost fortress-like silhouette, in front of the entrance there is a barbican: a round extension to protect the entrance to the temple.

This temple is unique for another reason: it has preserved interiors demonstrating another feature of the era: external rigor was often combined with the richest interior design of the temple

The tradition of building one-tower churches was preserved, perhaps the most famous is the Bernardine church in Slonim in 1670:

The temple is interestingly located: it is turned by the apse to the street, in fact it has no main facade, its tower is directly connected to the monastery building.

Not far from the churches in Mikhalishki and Zasvir, there was a one-tower church in Svir. True, it was radically rebuilt at the beginning of the 20th century and its original appearance was preserved only in old photos:

Today I talked about the Roman Catholic churches of the 17th century. My next story will be devoted to the Orthodox and Uniate churches of this era.

P.S. Some of the pictures belong to the wonderful girl Elena, for which Once again I want to express my deep gratitude to her.
:-)))

The Baroque era in Belarus was connected with the religious situation. Started at the end of the 16th century. The Reformation, which affected mainly the magnate-gentry layers, did not have a special influence on the minds of the general population and was quickly suppressed by the Jesuit order, which launched a full-scale activity in the Belarusian lands. The common people of Belarus, not affected by the reform movement, adhered to the Orthodox faith. But since the adoption of the Brest Church Union in 1596, part of the Orthodox passed into submission to the Pope, forming the Uniate Church. Thus, among the most influential confessions, the first place belonged to the Catholic, while maintaining the importance of the Orthodox and Uniate.

The intensive development of Catholic traditions was associated with the cultivation of choral music and organ performance.

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The Catholic orders that continued their activities were engaged in the training of professional musicians, the publication of notes and textbooks. In Catholic churches and monasteries, monophonic and polyphonic chants of various liturgical genres were created and performed. The Manuscripts Department of the Vilnius University Library stores music collections, among which are presented all the main church music books: graduals, antiphonaries, processionals and cantionals. Their analysis showed that the traditions of the Gregorian chant of the Italian (Roman) and Polish type were preserved on the Belarusian lands. Here are masses of Bernardine and Dominican monasteries from different Belarusian areas, which have features of rethinking and destruction of ancient traditions. Most polyphonic compositions (masses, requiems, antiphons, responsories and offertorias) are characterized by a free reading of the canonical tradition, emotional freedom, the use of elements of secular music, simplicity and accessibility of the musical language. Similar features were characteristic of the cult music of Europe at that time. Local traditions, in particular, the use of the stylistics of Kants, turned out to be inherent in collections of church songs performed outside the walls of churches, often at home. Among them, the collection "Sacred Music" by Andrey Benken (Slutsk, 1739) should be mentioned.

Organ music became widespread in the Baroque era in Belarus. The works of Andrei Rogachevsky and anonymous authors have survived to this day, the compositions of which are placed in the organ booklet of 1626. This manuscript, which is kept in the library of the Lithuanian Academy of Sciences, probably belonged to Kazimir Leon Sapieha and was associated with the Franciscan environment. In addition to liturgical works, the collection also includes preludes, richercaras, fantasies and canzones written in Italian tablature notation.

From the lists of musical documents preserved in the archives of some Belarusian cities, it is known that instrumental chapels often sounded in Catholic churches. Their repertoire included both cult and secular music, which confirms the theory that Belarusian churches, like Western European ones, often served as concert halls.

Complicated in the 17th century the position of the Orthodox Church contributed to the development of forms of musical activity related to the preservation of traditions. Among such forms, one can mention the continuation of the compilation of Irmoloi, which is characteristic of many areas of Belarus (Mogilev, Vitebsk, Slutsk, etc.). At the same time, new means of expression were also needed, which could withstand the splendor of the decoration of services in a Catholic church. The first place among them was taken by the polyphonization of church singing. Gradually, polyphonic music found its place both in Orthodox worship and outside the church.

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The activities of the brotherhoods had a positive impact on the development of Orthodox musical traditions. Despite the fact that in the middle of the XVII century. most brotherhoods ceased to exist, some of the remaining ones distributed samples of polemical literature and musical manuscripts. In their activities, the brotherhoods sought to counter the magnificent polyphonic texture of Catholic music with more ascetic, harmonically coordinated polyphonic partes (divided into parts) singing.

In general, the unfavorable political situation that had developed since the middle of the 17th century caused the emigration and internment of many Orthodox Belarusians to Muscovy. One of the first figures of Belarusian culture who made a significant contribution to Russian culture was a graduate of the Vilna Academy, a wonderful composer and theorist Nikolai Diletsky. The substantiation of the significance of partes polyphony and the development of the technique of composing partes concertos, which, after the reform of Patriarch Nikon, became the basis of the musical design of Orthodox worship in Russia, are associated with his name and with the theoretical work “Musician Grammar” belonging to him.

Orthodox Belarusians, such as Simeon Polotsky, Ivan Fedorov, Vasily Poznansky, Leonty Tarasevich and others, influenced the development of Russian literature, theater, architecture, fine and decorative arts. So, the author of the poetic text "Rhyming Psalter" (after 1682), set to music by the Russian composer Vasily Titov (a student of N. Diletsky), was the famous Belarusian educator Simeon Polotsky. He was also the author of the texts of many Belarusian cants.

The Uniate denomination, associated with Orthodox ritualism, but subordinate to Rome, retained a certain duality in the field of musical culture. For quite a long time, the Uniate Church sought to preserve the traditions of Orthodoxy. This was reflected in the Uniate manuscripts and musical publications, among which were osmoglasniki, octoichs and irmologions. However, after the Council of 1720, a tendency towards Latinization appeared in the musical design of the Uniate divine service. It is evidenced by the handwritten musical catalogs of the Zhirovichi Uniate Monastery, in which there are Latin masses, hymns and other cult compositions. The influence of Catholicism was also manifested in the use of the organ in Uniate worship. So, according to the surviving documents, in the Uniate churches of Suprasl, Polotsk and Zhirovichi there were organs and instrumental chapels. In handwritten and printed Uniate theologians (collections of church songs performed outside the walls of the temple), canonical Catholic tunes were used - Dies irae, Te Deum laudamus, etc. Musicians of Catholic and Uniate churches could jointly participate in the accompaniment of liturgical dramas that took place on the streets of Belarusian cities. On the rapprochement of Catholic and Uniate

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denomination is also evidenced by the fact that musicians - pupils of Uniate schools often became organists in Catholic churches.

Features of the Baroque style are reflected in the musical language of the surviving cult musical compositions. The works of composers who worked at that time on the Belarusian lands (N. Diletsky, Zh. Lauksmin, A. Rogachevsky and M. Skaka) are characterized by vivid emotionality, dramatic tension, saturation of texture, the use of concert performance techniques, fixation of the general bass, etc. The attention to detailed polyphonic compositions (often multi-choir) corresponding to baroque splendor and decorativeness is indicative. A. Rogachevsky's motet and canzone, and especially the choral concertos of N. Diletsky, are distinguished by similar features - outstanding examples of Slavic baroque.

In addition to sacred music in Belarusian culture During the Baroque era, some new phenomena were developed, in particular, kanty, batleyka and school theater.

Kants(from lat. cantus - singing), which are everyday polyphonic songs, have become the embodiment of the democratic traditions of the Belarusian baroque . They were widespread in the East Slavic territories: in Belarus since the 15th century, in Ukraine since the end of the 16th century, in Russia since the 17th century. The musical features of the cants include the couplet form and the three-voice texture with the parallel movement of the two upper voices and the opposing bass, which creates a harmonic basis. Depending on the content, cantes were divided into secular (cantes) and spiritual songs (psalms). They were created in the urban environment, in spiritual (Orthodox, Catholic, Uniate, Protestant) and secular educational institutions. In addition to teachers, schoolchildren and students, professional artists and musicians could be authors of cants. The great popularity of these songs ensured their wide dissemination: cantes were common among the townspeople, soldiers and peasants, often performed during holidays (Easter, carols) and weddings, accompanied by performances of batleika and school theater. The art of Kants occupied a borderline position between professional and folk culture - written down by authors, Kants, spreading among the people, acquired numerous variants and “lost” their authorship, that is, they became folklorized.

The historical origins of the cantes go back to the hymns and solemn chants of the pre-Christian and Christian eras and are associated with choral music European Reformation. The basis of their musical style is the combination of nationally original features of Belarusian songwriting with typical melodic-rhythmic “formulas” of Western European dances - pavanes, sarabandes, galliards, etc. The themes of cants are especially diverse. Among the numerous samples one can find songs of philosophical, instructive, repentant, lyrical, humorous and satirical content. An example of a joke is

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student - about Zhachok, a seminary student. Quite rare are historical ones (“Because of Slutsk, because of Kletsk”), navigational ones (“The storm is breaking the sea”) and mythological ones (“About Chernobog”). In general, the content of the cants serves as an illustration of the life of the Belarusian society of the Baroque era in all its diversity. Among the psalms - chants on biblical and gospel themes - psalms-carols dedicated to the Christmas holiday are most widely used in Belarus. Especially popular and popular love were "Nova Joy Has Become", " New Year runs", "The Golden Tabernacle". Philosophical reflections the frailty of life, the insignificance of man in the face of eternity were revealed in the psalms “Do not cry, Rachel, and do not weep”, “Poor man”, “From the beginning of the world”.

History has preserved to this day the names of some authors of Kants. Among them are Simeon Polotsky, Vasily Titov, Epiphany Slavenetsky, Dmitry Rostovsky.

The musical monument of the Kantian art of the Baroque era is the collection "Courants", dated 1733. It marks a new stage in the development of the Belarusian Kant culture, which led to the formation of the lyrical Kant genre. This collection, which is currently in the Department of Manuscripts of the Pushkin House of the Russian Academy of Sciences in St. Petersburg, consists of four notebooks with thirty-one numbered songs and one song without a number. The vast majority of songs (with the exception of two) are provided with a musical line with a melody notation in square Kyiv notation. The lyrics are written in Church Slavonic and mixed Belarusian-Ukrainian. Their characteristic three-voice texture brings them closer to the cants, although there are several two- and one-voice songs among the songs of the collection. The main content of the collection is the lyrics: love, betrayal, parting. In this regard, the origin of the name "Chimes" is of particular interest. On the one hand, the chimes (from the French courante - running) was a court dance of Italian origin, which became widespread in the 16th - 17th centuries. However, in the XVIII century. it was customary to call chimes love songs and lyrical chants, related or not related to the rhythm of the dance of the same name. In the Commonwealth, drinking songs were called chimes. The lyrical orientation of the collection allows us to conclude that it is a kind of popular music XVII– 18th century songs based on the motive of popular dance, in this case - chimes. The musical style of the collection reflects transition period the development of the Kantian genre, when he combined the features of spiritual psalms of the 17th century. and monophonic secular songs with accompaniment. Despite the multi-ethnic nature of the collection, there are musical analogies with Belarusian psalms-carols (No. 5), humorous (No. 34) and lyrical chants (No. 6, 21, 28).

Samples of the early music of Belarus often serve as a source of inspiration for contemporary composers. Yes, based on the collection

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"Chimes" composer V. Kopytko created a large-scale work with the same name.

A large number of secular and ecclesiastical Belarusian cants are placed in a handwritten collection of 1732, which is kept in the State Historical Museum of Russia. Among the spiritual cants, works based on poems by Simeon of Polotsk and a number of carol psalms stand out. Among the secular cants that existed in the Belarusian lands, the attention is drawn to “The storm spreads the sea” and “The goldfinch waving tight”, which were extremely popular and even became popular.

Many surviving anonymous collections of the 17th - first half of the 18th centuries. contain only poetic texts, mostly of a lyrical nature. There are quite a lot of Belarusian-language samples among them, about which the researcher A. Maldis writes: “The love song was not only sung. It was a kind of "game" of questions and answers. They danced to her words. It was performed at balls with magnates, "amusements" at the courts of the middle and small gentry, in the salons of the townspeople; from there she penetrated into the village tavern, to the peasant parties.

The Kantian culture of Belarus reflected the essential features of the Baroque style: the versatility of figurative and semantic solutions, spectacle and allegorism. Kants had expressive local features that connected them with folklore. Thanks to this, they became one of the defining spheres of the formation of national Belarusian art. At the same time, being bearers of humanistic values, the Kants united the culture of many countries and peoples and created the foundation for the so-called art of the "third layer" - everyday music of their time and even subsequent eras. In the process of spreading from West to East, they moved from Belarus and Ukraine to Russia, where they were originally rethought (in the Petrine era) and became a deeply national phenomenon.

Theater was one of the most important spheres for the inclusion of music in the artistic life of Belarus in the Baroque era. European theatrical traditions, whose origins date back to ancient tragedy and medieval mysteries, were reflected in the 16th-17th centuries. in the art of batleika and in the school theater.

Batleyka- This is a type of ancient puppet theater, common in Belarus since the end of the 16th century. The plots of batley performances were based on biblical and gospel themes, as well as on folk-genre motifs. The origin of the name, which is associated with the word "Bethlehem" - the Polish transcription of the name of the city of Bethlehem, the birthplace of Jesus Christ, testifies to the church-religious orientation of this theater. The action of the battle performance took place in a specially built two-story house with a mezzanine tower, the design of which corresponded to the plot hierarchy. The most honorable place in it was occupied by scenes from the Holy Scriptures: on the upper tier, stories about the progenitors of mankind Adam and Eve and about

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the birth of Jesus, on the middle one - it was told about the crimes of King Herod. Scenes from folk life, in which ordinary people acted, were placed on the lower "floor". Batleyka performances were accompanied by vocal and instrumental music. Parts of the plays of biblical gospel content were decorated with specially selected religious hymns, psalms, and chants. Folk songs and dancing accompanied everyday episodes. Musical numbers sounded before the beginning of the action, tuning in to it, accompanied and completed the performance, and also played the role of a kind of interludes between separate scenes.

The content of the performances of the batleyka was a reflection of the worldview and cultural horizons of the most massive class groups of the Belarusian society of that time, in particular, the philistines and the peasantry. In productions, they were attracted by the typical plot situations and figurative characteristics, the spectacle and the synthetic (musical and dramatic) nature of the battle performances. Thanks to the underlined democracy within the art of batleyka, the formation of the most important features of the national musical theater began.

An even more significant place was occupied by music in school theater– the form of a drama theater, the performances of which were carried out by students of various religious educational institutions. The Belarusian School Theater was founded by the Jesuit Order at the end of the 16th century. Theatrical performances of a didactic and instructive nature were an integral part of educational process in the Jesuit collegiums of Italy, Austria and France. This Western European tradition was brought to the territory of Belarus, and at the turn of the 16th - 17th centuries. spread in such Belarusian cities as Polotsk, Nesvizh, Orsha, Pinsk and many others. etc. Later, school performances entered the practice of other monastic orders - Catholic and Uniate, began to be staged in Orthodox fraternal schools. The authors and performers of school plays were teachers and schoolchildren. The performances were timed to coincide with important events of the educational and church calendar: the end of the school year, the beginning of the pre-Easter (Passion) week, the beginning of Shrovetide. For Shrovetide and "passionate" dramas, plots from the Holy Scriptures were chosen, for vacation performances - from mythology and ancient history. The performances of the school theater were called upon to educate students in the spirit of virtue, patriotism, and love for science. They extolled highly moral deeds and condemned human vices. The educational function of the school theater determined the instructive, moralizing nature of its performances.

The structure of the performance was peculiar, consisting of three parts: prologue, main part or plot and epilogue. In the prologue, the author of the play addressed the audience with an explanation of the main idea of ​​the performance. The content of the plot was the play itself, which was divided into actions and pictures, and each action had its own prologue. In the epilogue, the author or actor thanked the audience for their attention.

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An important place was occupied in the school performance by interludes between pictures. In them, as well as on the lower tier of the batleika, scenes from folk life were played out. The protagonist of these genre-everyday scenes was a Belarusian peasant, who amused the audience with his conversations and actions. The features of the opposition of high and low, tragic and comic were also manifested at the level of the language of the performance: the main part of the performance was in Latin or Polish, interludes - in Belarusian. In these comedic episodes of a serious performance, folk songs were most often heard.

Participation in a theatrical performance was an opportunity for schoolchildren to demonstrate the solidity of the practical skills they had acquired during their studies. Acting embodied the skills acquired in the lessons of poetics and rhetoric, the performance of musical numbers - success in learning to sing and play musical instruments. Musical arrangement school performances depended on their content. Thus, spiritual psalms were played in religious performances, and secular music in vacation plays. Since the second half of the 17th century, in connection with the development of the genre of opera in Western European musical art, in performances school theaters secular arias-dithyrambs began to sound more and more often, and such operatic forms as recitative and duet also appeared. Singing and dancing were accompanied by instrumental music, which, while not yet having a pronounced dramatic role, served as a decoration for the production. By enhancing the emotional impact of the spectacle, she helped to reveal the idea of ​​the play more deeply. In the design of school performances, the path to the musical opera and ballet theater was outlined. Subsequently, existing in parallel with opera and ballet, school drama transformed into a school opera.

On the Belarusian lands in the XVII - the first half of the XVIII centuries. continued development secular instrumental music. As in the previous era, privately owned chapel orchestras remained the centers for the dissemination of instrumental music. According to surviving information, in the XVII century. the great clerk of the Grand Duchy of Lithuania, Kazimir Leon Sapega, and the castellan of Mstislav, Jan Oginsky, had chapels. At the turn of the XVII - XVIII centuries. an instrumental ensemble of local musicians was owned by the Minsk governor Krishtof Zawisha. In the 30s - 40s of the XVIII century. the owners of the chapels were representatives of the Oginsky family (Vitebsk voivode Martsian Oginsky, Lithuanian clerk Tadeusz Oginsky, Vitebsk castellan Stanislav Oginsky) as well as Belsky elder Zygmund Dombsky, Lithuanian sub-chancellor Michal Alexander Sapieha and other aristocrats. At the courts of magnates and grand dukes, as in the Renaissance, outstanding Western European musicians worked. It is indicative that until 1620 the famous lutenist Michelangelo Galilei, the son of the Florentine theoretical musician Vincenzo Galilei and brother of the famous astronomer, worked at the court of Krystof Radzivil.

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Most complete picture The development of Belarusian everyday music in the Baroque era can be compiled thanks to the monument of the 17th century. - Ostromechevskaya (Jagelonian) manuscript , better known as "Polotsk Notebook". In 1962, the Belarusian historian A. Maldis, studying the manuscript of the Uniate prayer book, which was in the library of the Jagiellonian University in Krakow, discovered that sheets of paper with musical lines were pasted into the cover of the prayer book. At the request of the scientist, unusual sheets were removed from the cover, and the discovered musical text became the property of musicologists. The name "Polotsk Notebook" got its name from the initial assumption about the origin of the manuscript from Polotsk, which was later refuted. It has now been established that the Brest lands, the village of Ostromechevo, were the place where the manuscript was created.

At 64 music pages"Polotsk Notebook", written in five-line notation, contains typical works of the instrumental repertoire of that time and a large number of vocal compositions. Dancing occupies a significant place among instrumental pieces. These are Western European Bergamaska, Pavane, Sarabande, Ukrainian Cossack, Polish Mazur (predecessor of the mazurka), persecution and hodzon (predecessors of the Polonaise). The collection also contains a number of instrumental ensembles and major solo works. Among the latter are Fantasy for organ by P. Zheliakhovsky (the only work with the author's name) and Canzone for two violins.

A feature of the collection belonging to the Baroque era can be considered the uncertainty of the composition of ensemble performers. In a number of numbers of the collection, as well as in the "Art of Fugue" by J.S. Bach, there is no indication that they are intended for singing, playing several instruments, or for mixed vocal-instrumental performance.

Among the 60 samples of vocal music placed in the Polotsk Notebook are popular songs and cants (on religious and secular themes) in Latin, Polish and Church Slavonic. Only 4 samples are fully subtexted, the rest contain incipits - initial words. The use of incipits most likely indicates that full text was known to singers, and is a testament to the popularity of the vocal work.

The initial words of the songs recorded in the manuscript made it possible to reconstruct the texts. It was found that the collection contains two groups of vocal compositions:

1) religious works from the Catholic and Uniate everyday life, including “Glory to the Holy Spirit”, “Jesus Chrysce”, “Jesus Salodki”, etc.;

2) secular city lyrical songs from the collections of the 16th century (“Lady”, “Yashche sun”, “Kalya vyaselaga dance”) and the 17th centuries (“Sardechnaya dzyachyna”, “Attacked by you”, “Servants of the taba long time”). The texts of some songs belong to the Polish and Belarusian poets Nikolai Shazhinsky, Yan Morshtin, Jerzy Shlykhting and others.

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The recording of most of the works from the "Polotsk Notebook" is a clavier type of presentation. This may indicate that the manuscript belonged to an organist or clavicembalist who used it in his concert practice.

The continuation of the traditions of the Renaissance was the holding of paratheatrical performances in Belarusian cities. Grandiose religious performances associated with the festive dates of the church calendar or numerous celebrations on various occasions have become widespread. Paratheatric performances have become the phenomenon that most fully reflected the features of the Baroque era with its scale, emotional intensity, the desire for spectacular effects and the synthesis of the arts.

Actually theatrical performances were not yet widespread in the Belarusian lands. Nevertheless, documentary evidence has been preserved that in the capital of the Grand Duchy of Lithuania in the 17th century. Opera performances have already been staged. According to Polish scholars, in 1636 the drama per musica “Andromeda” was staged in Vilna at the court of Vladislav IV, and in 1644 the opera “The Abduction of Helen” was staged, with music probably belonging to Marko Skaki. The facts of the rather early appearance of opera productions on the Belarusian lands are another evidence of the deep integration of the local musical culture into the European artistic environment.

Information about the composers who worked on the Belarusian lands in the Baroque era is not complete. Sufficiently accurate data are available only for Nikolai Pavlovich Diletsky (about 1630 - about 1680) - a composer and theorist who made a significant contribution to the development of Belarusian, Ukrainian and Russian musical art. The issue of nationality (Ukrainian, Lithuanian, Belarusian) and religion (Orthodox, Uniate, Catholic) of N. Diletsky has not been resolved. A native of Kyiv, he was educated at the Vilna Academy and spent most of his life in Vilna, occasionally visiting Warsaw and Krakow. It is known that he wrote the original version of his theoretical work "Musician Grammar" in Polish in Vilna (1675, the manuscript has not been preserved). Since the 70s of the XVII century. the composer lived in Russia. Here he revised and translated the Musician Grammar into Church Slavonic (1677, Smolensk), and in 1697 in Moscow he made a Russian translation from Polish. Diletsky's theoretical work is distinguished by its rationalist orientation and the desire to interpret the expressive possibilities of music in the spirit of the theory of affects that dominated the Baroque era.

In Moscow, the composer was associated with a group of progressives who supported new trends in literature and art. He led choirs, published his works, which had a significant impact on the introduction of the theory and practice of polyphonic singing into Russian musical culture.

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In the work of Diletsky, the traditions of the choral concert, coming from J. Gabrieli and T. Schutz, are reflected. In the theory and practice of partes singing, he adhered to the concert type of presentation of material with alternating voices. The harmonic basis of his works was created by the unity of the new major-minor system at that time and the modality traditional for Renaissance-Baroque music with its characteristic tonal decentralization. Among the most famous compositions are the eight-voice "Cherubic", "Liturgy", etc., stored in the library of the Academy of Sciences of Ukraine.

A student of the Polotsk Collegium and the Vilna Jesuit Academy was also Zhigimont Lauksmin (1596 - 1670) - theologian, philologist and musician. He worked in Polotsk (1629 - 1631) and Nesvizh (1631 - 1635), from 1635 he was a professor at the Vilna Academy, where he received a doctorate in theology, and in 1655 - 1657. - position of vice-rector. In different years he worked in educational institutions of Branev, Polotsk and Pinsk. Scientific works and textbooks by J. Lauksmin on music theory were published in Mannheim, Cologne, Vienna, Prague and Vilna.

The textbook on choral singing "Theory and Practice of Music" (1669 - 1694), repeatedly reprinted, was widely used in the classrooms of many colleges. It provides a systematic presentation of the foundations of music theory and provides a large number of musical examples that reflect the features of the composer's practice of their era.

biographical information about Andrey Rogachevsky (Andrei from Rogachev) has practically not been preserved. It is only known that this organist and composer, who worked in Nesvizh in the first half of the 17th century, was the author of a number of choral (motet and canzone) and instrumental compositions.

Italian composer Marco Skachi (1602 - 1662 or 1685) was the court bandmaster of the King of the Commonwealth Vladislav IV Vasa. He is the author of masses, motets, madrigals, operas (including those staged in Vilna) and musical and theoretical works.