Architecture is based on a symbolic understanding of space. Refers to the symbolic meaning of the building, establishes a correspondence between different planes of being and forms of the building. The proportions of many buildings were also determined by the symbolic meaning of the forms. When following a certain geometric logic, the building turns out to be charged with sacred power. In ancient Greek and Roman temples, a direct correlation was established between architectural proportions and cosmic models and the idea of spiritual ascent was emphasized. The complex geometric symbolism of the temple is based on a vertical vector. It also correlates with the vertical principle of the tree, the mountain. It contains cosmic and theological symbolism. The temple is a symbol of spiritual aspirations and achievements. Thus, the idea of gradual ascent is most consistently expressed in the composition of the Babylonian ziggurats. The temple acts as an earthly projection of models of the cosmos: several heavens resting on supports (pylons, columns) connect the earth with the "primary waters". The image of the temple is a reflection on the Universe as a whole. Thus, architecture is an element of the spiritual cosmos. The temple is also based on the symbolism of the mandala - the square of the circle, the square and the circle, connected by an octagon, which bears the weight of the temple.
Pyramid of Sneferu, Medum, Egypt
27th century BC
Gate of Goddess Ishtar, Iraq
7th-6th century BC
An important role in architecture is played by the geometric symbolism of the cosmos: all round shapes express the idea of the sky, the square is the earth, the triangle symbolizes the interaction between the earth and the sky. The following chain of analogies: the pyramid has a square in plan and a triangle in vertical section, the square corresponds to the cross formed by four cardinal points. The temple expresses the hierarchical correlation of parts organized around the source of creation and spatially located around the world axis. It is a model of an organized cosmos, a manifestation of the One in plurality. It uses the symbolism of numbers. This is the number 1 - in the pyramids, the number 3 - in Christian churches, the number 8 - in the towers, which is the link between four - a square and two - a circle.
Cave temples are also known. Such are the Indian cave temples, in which the idea of the Center is internalized and the symbolic center moves from the upper point of the world axis, represented both in the pyramid, pagoda, Jewish temple, and in pagan and Christian temples and in the Muslim mosque - inward: in the heart of the mountain, man, of things. The idea of the world axis is replaced by the idea of the "world egg".
The Jewish temple is a type of the tabernacle - the sanctuary, the Holy of Holies, the testimony given to Moses by God: “And make the bars for the tabernacle of shittim wood so that they stand. A beam shall be ten cubits long, and a cubit and a half wide for each beam. Each beam has two spikes (at the ends), one against the other. (Ex. 26:15-17). For the midday and north sides of the tabernacle, it is prescribed to make twenty boards for each; for the western and eastern sides - eight bars each. The same numerologically significant indications are given regarding the construction of sockets, spikes and poles, also made of shittim wood. And all this is overlaid with gold - the metal of divine glory. “Everything (do) as I show you both the pattern of the tabernacle and the pattern of all vessels” (Ex. 34:8).
The tabernacle is understood, first of all, as a house, as a temple of the Lord. And it embodies moral maxims: only those who “walk blamelessly, and do the right thing, and speak the truth in their hearts, who do not slander with their tongue, do no harm to their sincere” can stay in the dwelling of the Lord” (Ps. 15.1- 2). It must have two veils, or two coverings, an outer and an inner. The Tabernacle stands in a rectangular courtyard, the length of its western and eastern walls is fifty cubits, and the length of its northern and southern walls is one hundred cubits. The length of the western and eastern walls of the sanctuary is ten cubits, the southern and northern walls thirty cubits. The Ark of the Covenant is kept in the Holy of Holies, behind the second veil. Solomon's temple is called in 1 Kings "the house of the name of the Lord" (5:3). Its length is sixty cubits, its breadth twenty, and its height thirty cubits. The porch in front of the temple is “twenty cubits long, according to the width of the temple, and ten cubits wide in front of the temple. And he made lattice windows in the house, deaf with slopes. And he made an extension around the walls of the temple, around the temple and the davir (Holy of Holies); and made the side rooms round. The lower tier of the extension is five cubits wide, the middle one is six cubits wide, and the third one is seven cubits; for ledges were made around the temple from the outside, so that its extension would touch the walls of the temple ”(1 Kings 2-6).
Solomon's temple was built from hewn stones without the use of iron tools. The walls and ceiling of the temple are lined with cedar, and the floor - with cypress boards. The Holy of Holies is built in the back side of the temple "twenty cubits from the edge" and the walls and ceiling are lined with cedar planks. The davir is twenty cubits long, twenty cubits wide, and twenty cubits high (1 Kings 6:20). Forty cubits was a temple (1 Kings 6:17) and was overlaid with pure gold inside. The main meaning of the temple is the Divine presence in it: “And the word of the Lord came to Solomon and it was said to him: behold, you are building a temple; If you will walk in My statutes, and do My ordinances, and keep all My commandments by doing them, then I will fulfill My word on you” (1 Kings 6:11-12). The temple is an archetypal architectural symbol.
Hagia Sophia, Novgorod, Russia
1045-1052 years
Pisa Cathedral and Tower, Italy
1153 - 14th century
Many traditional teachings offer the idea of the human body as a temple created by the Divine architect for the spirit. It restores the theomorphic principle of man. The symbolism of Christian churches expresses the transformation of the human figure. Their cruciform plan resembles the figure of the crucified Christ. The Romanesque church combines the symbolism of a circle with a square and a cruciform building plan. Gothic architecture is based on a triangle - a symbol of the Trinity. The flaming gothic arch sets the theme of fire and develops the apocalyptic theme. Pylons, side columns, door jambs - the guards of the entrance. Porticos repeat the altar - the program theme of the temple. Covered colonnades represent the annual cycle. The northeastern part of the colonnade is October-December, the northwestern: January-March, the southwestern: April-June, the southeastern: July-September. Four seasons and four periods of human life serve as an analogy for the four phases of ritual salvation (healing): 1. Danger, death, suffering; 2. Cleansing fire; 3. Healing; 4. Recovery. In the twin frontal towers of Gothic cathedrals there are symbols of Gemini, Janus and the number 2, as well as two peaks of the hill of Mars.
Domes in Buddhism, Islam and Christian temples mean the dome of the sky - they depict stars, angels. The dome above the intersection of the nave and the transept represents the unity, or torus, of Jupiter. Heaven is above the platform and hell below it. Four pillars, pylons or buttresses that divide the facade and determine the location of the three entrances - these are the four rivers of paradise. The door represents a barrier through which only initiates can pass. It is also a transition to another level of existence. The three doors of the Christian church represent faith, hope, mercy. The window in the temple is a way of our perception of the world. Through the windows we see the sky and through them the light penetrates into the temple. The central rosette is the Lake of Life where heaven and earth meet. Church walls enclose saved humanity. Support buttresses mean spiritual uplift and moral strength. The roof is mercy, the columns are the dogmas of faith, the vaults are the ways of salvation, the spire is the finger of God, indicating the ultimate goal of mankind.
Islam, integrating religion into all spheres of life, has created an integral worldview, which is expressed in its architecture. The sacred architecture of Islam is the crystallization of Islamic spirituality. There is no idea of a Promethean impulse in a Muslim mosque. It harmonizes with natural rhythms. The architectural space of the mosque is created by the balance of quality, forces and energies of the elements, correlation with the movement of the luminaries in the sky, the alternation of light and darkness. The sacred architecture of Islam depicts the Divine presence, it is the center that emanates light and influence on all spheres of human activity. The space of the whole city is considered to be cleansed by the presence of the Divine Word, which periodically fills the city in calls to prayer. Through sacred geometry, cosmic dimensions are introduced into the world of man and there is an appeal to the eternal in it and the sacralization of the earth.
The tombs in the temple are like a gate to another world. They contain everything necessary to represent the good name of a person in two worlds, characterize his merits and virtues. The castle is a place of physical and spiritual refuge.
"Signs and Symbols of Art" - Vincent van Gogh. In the Middle Ages, the aspiration of man to God was of particular interest. Vanity. N. Rimsky-Korsakov. The complex inner world of the artist is often revealed through symbols. Starry Night, 1889. Perpetuum mobile. Still life with oysters. Musical instruments, notes - the brevity and ephemeral nature of life, a symbol of the arts.
"Spiritual life" - Labor. Art and spiritual life. Features of art. Game. Trends in the spiritual life of modern Russia. Biologonization. Reasons for the appearance of art: Spiritual life in Russia has always been distinguished by its originality. What is art? Main features. Labor is the source of art. 3. Imagery.
"Arts and Humanities" - Visual Arts and Architecture Sociology. Education and research activities. Arts and Humanities. In the course of training, the student studies the following disciplines: Forms of education: full-time / part-time (remote), contractual. breadth and depth; theory and practice. A graduate of the university in the direction of "Arts and Humanities" can work:
"World of Art" - "March" Isaac Ilyich Levitan (1860-1900). "Girl with Peaches" Valentin Alexandrovich Serov (1865-1911). Gallery of artists. What do you remember there? Sculpture. Portrait of A.S. Pushkin, work of V.A. Tropinin. Do you know where authentic works of fine art are stored? State Tretyakov Gallery in Moscow.
"Symbols and Signs" - In the traditions of the folk art of the Slavs, the image of a rhombus denotes the earth. What are signs and symbols? Where can I find signs and symbols. Signs and symbols arose at the dawn of mankind. For example: (any medical sign). The historical path of signs and symbols. In life: in the field of traffic, in medicine….
"Art in human life" - In our journey through different types of art, many discoveries await you. We will work in pairs, perform creative tasks, sing, create design work, search for information, create presentations, watch films, etc. You will definitely reach the Top of the knowledge of art, from which an amazing World opens up!
In total there are 20 presentations in the topic
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Symbolism is of great importance in the history of art and develops over time along with culture. The semantic structure of the symbol is multi-layered and is designed for the active internal work of the perceiver, i.e. viewer. The very structure of the symbol is aimed at immersing each particular phenomenon in the element of the “original principles” of being and giving a holistic image through this phenomenon.
A symbol is a sign, image or object that represents an abstract thing that embodies an idea. The concept of a symbol (from the Greek simbolon - identification mark, sign) is a special case of the concept of a sign. A sign is a schematic unambiguous display of an object, concept or phenomenon: a sign can be abstract (a simple line, a cross, a trace) and does not necessarily have a symbolic meaning. Symbolic expression, as a rule, is the opposite of rational expression, which expresses the idea directly, without resorting to sensual images. Symbols and their meanings are actively used in architecture, culture, philosophy, etc.
Many symbols have been used as amulets since ancient times. Since ancient times, people have tried to protect their hearth, using architectural signs and inscriptions that were introduced into transitional spaces, for example, into the entrances and exits of houses, temples or window openings, which are the boundaries between internal and external, one's own and others' space. A person hung a skull of an animal or an enemy in front of the entrance to the dwellings, which was supposed to scare away the enemy, “protect” their living space. Thanks to the introduction of special signs - amulets, a person protected his home, his living space, from the negative influence of the outside world. These amulets also went through a huge evolutionary path from a primitive natural to a conditional form, established, for example, in the architecture of baroque or classicism.
Before the baptism of Rus', one of the deceased relatives was buried under the threshold so that his soul would protect the family from evil. The most common amulet, the horseshoe, was often placed above the doors. One of the ancient protective dolls for the home was the Eye of God. “The cruciform composition expresses the idea of spreading the forces of good or guarding forces to all four cardinal points” (A.B. Rybakov, “Paganism of Ancient Rus'”). Traditionally, the "God's Eye" is placed above the front door to the house, room, above the child's bed, that is, in a place that is clearly visible to the incoming person. This was done for good reason: the bright image of the amulet attracts the attention of the incoming person, and if there were bad intentions towards the owners of the house, then the person forgets about it. "Domovushki" - Amulets were traditionally made to protect the house and to appease the brownie. As a talisman, a talisman was made - a broom. It was hung in a conspicuous place at the entrance. The more handsome and neat he was, the more power he possessed. If there were serious troubles in the house, the amulet broom was changed to a new one, believing that it had absorbed all the negativity, etc. A typical sign-amulet are solar (solar) signs. In general, the sign in the form of a wheel is absolutely universal. The image of the solar disk, which was worshiped, is often also a symbol of movement, since. the sun in the primitive sense "walks in the sky" and is a living being. Already later, in Christian times, above the gates of the first temples of the new religion, we see relief images of solar discs, sometimes combined with a cross, in its genesis having a “solar origin”.
Images of various types of animals present on many architectural structures have a symbolic meaning: lions, bulls, unicorns, etc. In the culture of different peoples of the world, this phenomenon is called zoomorphism - the representation of gods in the images of animals, and sacred animals as the embodiment of the essence of the gods. Each animal has its symbolic meaning and its mythological meaning. Sometimes, despite the fact that the symbolism is based on erroneous views of history and it is completely fantastic, all this is not without some attraction. An example is the use of the pelican as a symbol of the Savior. Legend has it that when there is no other food, the pelican points its beak to the chest (which is why it has a red beak) and feeds its offspring with blood. A centaur with a bow and arrows is an image of the astrological sign Sagittarius. An example of how this symbol is used in church architecture can be seen on the west gate of the church in Porchester - this is an interesting example of Norman architecture.
The fact, however, that on the other side of the entrance there is a pair of fishes in the form of the astrological sign Pisces, and these two signs, as astrologers say, are called the "houses" of Jupiter and Great Fortune, allow us to suggest that the architect was building while under Influenced by the astrological beliefs of his time, he arranged the signs in such a way as to attract the favorable influence of Jupiter.
The double-headed eagle is also one of the oldest symbols. It was widespread in Sumerian culture. One of the earliest images of a double-headed eagle was discovered during excavations of the Sumerian city of Lagash in Mesopotamia. Not far from the Turkish village of Bogazkoy, where the capital of the Hittite state was once located, the oldest image of a double-headed eagle (XIII century BC) carved on a rock was discovered. A double-headed eagle with outstretched wings holds two birds with one stone. The modern interpretation of this image is as follows: the king is vigilant, looking around, defeating his enemies, who are depicted by hares, cowardly but gluttonous animals. The double-headed eagle is also depicted on cylinder seals found during excavations of the Bogazkoy fortress. This symbol is also found on the walls of monumental buildings in other cities of the Hittite civilization. The Hittites, like the Sumerians, used it for religious purposes.
Many zoomorphisms are found in the architecture of Orthodox churches. Symbolic images in the catacombs: a dove is a symbol of the Holy Spirit and the innocence of a Christian soul cleansed by repentance; phoenix - a mythical undying bird, which has become a symbol of resurrection in catacomb paintings; the peacock is a symbol of immortality, since, according to contemporary beliefs of that era, his body does not decompose; rooster - also became a symbol of resurrection, since its cry awakens from sleep, compared by many Christian writers with death; lamb - symbolizes Jesus Christ, to whom this Name is assimilated in the gospel narrative; lion - a symbol of strength, power, power; fish - a deep symbol associated with the Greek spelling of the word "fish" - "ICHTIS", which contains the initial letters of the Greek words Jesus Christ, God's Son, Savior.
But not only individual elements of a building or decor can have a symbolic meaning, because the architectural structure itself can be a symbol. Architecture is based on a symbolic understanding of space, which is why it refers to the symbolic meaning of the building, establishing a correspondence between different planes of being and forms of the building. The proportions of many buildings of the past were determined by the symbolic meaning of the forms. For example, in ancient Greek and Roman temples, in order to emphasize the idea of spiritual ascent, a direct correlation was established between architectural proportions and cosmic models. The idea of gradual ascent is most consistently expressed in the composition of the Babylonian ziggurats. It is based on complex geometric symbolism, which includes a pyramid, a ladder and a mountain. Some elements of this symbolism can also be found in Western religious buildings, for example, in Gothic cathedrals. The architectural space of the mosque is created by the balance of quality, forces and energies, according to the movement of the luminaries in the sky, the alternation of light and darkness.
The temple acts as an earthly projection of cosmic models: several heavens resting on supports (pylons, columns) connect the earth with "primary waters". At the same time, all round shapes express the idea of the sky, the square represents the earth, and the triangle symbolizes the interaction between heaven and earth. The temple is a model of an organized cosmos, a manifestation of one in plurality, therefore, the symbolism of numbers is widely used in it: 7 in the pyramids, 3 in Christian temples, and 8, which is the link between 4 (square) and 2 (circle), - in the towers. The temple is also based on the symbolism of the mandala - squaring the circle - a square and a circle connected by an octagon, which bears the weight of the temple.
The Orthodox church is an inseparable religious and aesthetic unity, it is a complex, inexhaustible symbol in its visibility. The location of the temple, its architecture, decoration, painting system symbolically express what cannot be depicted directly. The temple as a holistic symbol is both an image of the Universe and the Church existing within it, spread throughout the world and contemplated in perspective.
Gradually, in the Eastern Christian world, the central-domed system was transformed into a cross-domed system. Cosmological symbolism is preserved, but the general meaning of the understanding of the temple is changing. This is not only “the image and image of God”, but also the image of a person and, in addition, “the image of the soul”, according to Maximus the Confessor (582-662). According to his point of view, the temple, firstly, is an image of the world as a whole, the altar in this case denotes the mountain world, and the room for worshipers - the valley. Secondly, the temple can only serve as a symbol of the sensual world, then the altar is the sky, and the temple itself is the earth. Thirdly, the temple is likened to a person: the altar is the soul, the altar is the mind, and the temple is the body. Fourthly, the temple is the image of the soul in its rational and animal power.
The building of an Orthodox church is built either in the form of a cross (a symbol of Christ), or in the form of a circle (a symbol of eternity), or in the form of an octagon (a symbol of the guiding Star of Bethlehem). Orientation of the temple to the East (conditionally - this is Jerusalem) symbolically restores the "original event" of sacred history in its Christian dimension. The temple ends with a dome (a symbol of the firmament of heaven), on which a head with a cross is placed. If the Byzantine dome above the temple symbolizes the vault of heaven, the Gothic spire of the Catholic church expresses the desire for heaven. Domes with crosses connect heavenly and earthly space into a single consecrated world. Old Russian domes end with an onion-shaped dome resembling a helmet, which is typical for the period of the Horde yoke. She is the flame of a burning candle. At the same time, each number of chapters has its own deep meaning: if one chapter is placed, this symbolizes Jesus Christ himself, if two chapters - the divine and human nature of Christ, if three - the three faces of the Trinity, etc. Christ the Almighty is most often depicted in the dome as the head of the church, and in the sails supporting the dome, four evangelists.
These canons were used in the construction of ancient temples. The oldest Christian churches in Russia are located in the Caucasus. They were built in the early Middle Ages, in the period from the VI-XIII centuries. The temples are located in the mountains, difficult to access, little known, poorly studied.
The Caucasus is a unique place in world history. It has a symbolic meaning for Russia. For the Russian state, its fateful role is obvious both geographically and culturally and historically. The Caucasus, which has traditionally been considered Muslim, is in fact one of the first areas of Christian preaching. Here lay the path of Andrew the First-Called and Bartholomew. The oldest of the mosques (the city of Makhachkala) stands on the foundation of a Christian temple of the 4th century (Islam arose 3 centuries later).
Archaeologists also described other relics of ancient Christianity: stone crosses with inscriptions in Greek at the site of the founding of the city of Stavropol, the city of Budennovsk, etc., statues of Christian knights, stones with ancient inscriptions, the remains of a temple near the village of Kart-Dzhurt in the area of Mount Elbrus and etc.
Considering architecture as a historical temporal process, we find undoubted signs that the material symbolization of architectural forms has almost always been a permanent means of communication. In the architectural language at all stages of its change and development, elements were introduced that can be directly considered as signs and interpreted from the point of view of semiotic theories.
At present, interest in symbolism remains, for example, interest in heraldry is returning, the roots of which go back to the Middle Ages, when a special heraldic language was developed. The so-called "talking coats of arms" often contained the names of their bearers in the form of a rebus - sometimes in a distorted form, without any regard for the true origin of the subject of the name, because not everything that was depicted as heraldic figures was given a serious symbolic connotation, then in modern times such a connotation attributed by speculative speculation. Such an interpretation of emblematic symbols was a favorite pastime in the era of the Baroque and Mannerism. Understandably, regal animals such as the eagle or lion are often invoked as imperial symbols and as expressions of superiority. However, the fact that the lynx should have the meaning of “agile, lively cunning and intelligence, giving the impression of exceptional sharpness”, that the boar means “fully armed with a desperate warrior who, in courage, opposes his enemy in battle chivalrously” is more a mannerist interpretation than proper heraldry. While such interpretations were discussed in detail in the last century, heraldry has become an independent auxiliary historical science. Examples of heraldic symbols can be: the salamander is a very ancient creature, mentioned by Aristotle (an amphibian lizard with a miraculous ability not to burn in a flame), in heraldry it symbolized resistance and immunity to danger, the phoenix is an amazing bird known from antiquity with the ability to be reborn to life after self-immolation (he was the emblem of the English Queen Elizabeth I), the antelope is an animal with the head of a heraldic tiger, boar fangs, serrated horns, with a mane on its back, the body of an antelope and the tail of a lion (this creature was the emblem of King Henry V).
Nowadays, symbolism is actively used by modern architects in the design of architectural structures. An example of this is the famous Sydney Opera House, one of the main attractions of the Australian continent - sail-like shells, representing the image of frozen music, form a roof that makes this building unlike any other in the world.
Another example is the project of a public and business center in Shanghai - Ren Building. Architects, using the language of symbols, transformed the graphic style into a form. The Chinese character "Ren", meaning "People", served as a starting point for the architects in creating this project. In order to further enchant the exhibition hosts, the architects included in it several symbols at once, associated with the concepts of "life" and "city". The project is conceived in the form of two buildings united into a single whole. One of the skyscrapers will rise out of the water and, according to the architects, will be responsible for the bodily nature of a person: a conference hall and a fitness center will be located here. Another tower - with a foundation on the ground, symbolizing the spiritual principle - will be equipped for business meetings and negotiations.
Thanks to this, we can conclude that while preserving traditions, buildings are being built again, the architecture of which has not lost its symbolic meaning.
Bibliographic link
Zaichenko A.A., Stepanyan K.A., Ustich N.A. SYMBOLISM IN ARCHITECTURE // Successes of modern natural science. - 2013. - No. 8. - P. 79-82;URL: http://natural-sciences.ru/ru/article/view?id=32705 (date of access: 04/06/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History" Masonic symbols in the architecture of Moscow, part 2
Masonic symbols mainly reflect the construction theme: a square, a hammer, an hatchet. In addition, Masons also collected more ancient signs, such as the six-pointed and five-pointed stars, the all-seeing eye, endowing them with their secret meanings.
Architects left these secret signs on buildings, sometimes unsuspecting owners, thus conveying messages to other Freemasons. Therefore, when you see something resembling Masonic symbols on a building, you need to study who was the architect and who was the owner of this house.
So, the main Masonic symbols and their meaning:
Radiant Delta- one of the most ancient symbols, in Christianity the sign of the "all-seeing eye". This symbol has appeared on images since ancient Egypt. For Freemasons, the sign reminds of the all-pervading divine gaze, of the presence of the Great Architect of the Universe (God) in all the deeds of Freemasons
Two columns (Yachin and Boaz)- "affirmed by power" and "affirmed by God." Two copper or brass pillars that stood in the temple of Solomon in Jerusalem
three rings- trinity of religions (Judaism, Christianity, antiquity)
Circle- symbol of eternity
Shell and pearls- symbols of self-development, each person, like a grain of sand, must grow a pearl out of himself;
Freemason's Apron- an attribute of belonging to Freemasonry
Ruler and plumb line- equality of classes
Compass- symbol of the public
wild stone- rude morality, chaos
acacia branch- immortality
Coffin, skull, bones- contempt for death, sadness about the disappearance of truth
sword- punishing law
Salamander- ancient alchemical symbol
Chimeras- an impossible dream to strive for
Freemasonry has always been closely associated with architecture. It is no coincidence that the members of the lodge called God the Great Architect or the Architect of the universe, and among the main symbols were the compass, the trowel and the plumb line. In itself, the process of building a building could refer to the creation of a new, more perfect society. In many ways, this is why the secret society revealed its philosophy to the world mainly through architecture. Of course, the attribution of one or another architectural element to Masonic symbolism immediately raises questions - this can be seen as paranoia or confidence in the existence of a world behind the scenes. However, Freemasonry can be an opportunity and simply rediscover a familiar city as a place full of ancient mysteries and secret societies.
Architect V.I. Bazhenov, who built the palace in Tsaritsyno and many other buildings in Moscow, was also a Freemason. As you know, Catherine II did not accept this palace, ordered it to be dismantled and removed Bazhenov from construction.
The palace in Tsaritsyno, built by Bazhenov and his student Matvey Kazakov, is often called the “architectural reference book” of Masonic symbols. You can see decorative elements on the facades of buildings that look like various compasses, stars or stairs, but they are not clearly pronounced and can be interpreted in different ways ... Catherine II expressed several wishes: that the building be in the “Moorish” or “Gothic taste.” The architect took into account the wishes of the empress, but did not follow their lead. new architectural language, in the process of which unusual ideas arose.
Catherine II liked the presented project, and in May 1776 construction began. Three buildings were laid along the Birch Prospect (Small and Middle Palaces and the Third Cavalry Corps), pavilions and the Figured Bridge. The work was progressing successfully: already in August, Bazhenov reported that the Figure Bridge was almost completed, and “the other three houses in half have already been erected, which will certainly be brought to an end this summer, if there is bad weather.” However, by the end years, troubles began with building materials and financing; at times this was repeated throughout the construction, which lasted for a decade - contrary to the plans of the architect to meet the three years. Bazhenov wrote numerous letters to officials so that construction would not stop, he even had to take out loans in his own name and carry out construction at his own expense. While working on the Tsaritsyno ensemble, Bazhenov was forced to sell his house in Moscow, along with all the furnishings and the library. During a visit to the construction site, which was sudden, the empress ordered "to make a fair amount of damage" and present a new project for the main palace. The construction was handed over to Bazhenov's student M. Kazakov. It is unlikely that Catherine was fluent in the symbols of “free masons”, but there were enough ill-wishers. Despite the fact that a number of Masonic symbols date back to Christian emblems, all Bazhenov’s Tsaritsyn buildings would have been demolished.
Matvey Kazakov, in his project, tried to preserve as much as possible the style chosen by Bazhenov, based on the traditions of Moscow architecture of the 17th century, but nevertheless, the new palace was in conflict with the existing building. However, the elements of Gothic architecture became more pronounced thanks to eight towers that accentuated the corners around the perimeter of the palace . More than Bazhenov's predecessors, the Cossack Palace looks like a classic medieval castle.
Some researchers suggest that the real reasons for the royal anger were Bazhenov’s affiliation with the Masons (the architect passed the initiation ceremony in 1784 on the guarantee of N. I. Novikov and was accepted into the Deucalion lodge, the master of the chair of which was S. I. Gamaleya) and his secret contacts with Tsarevich Pavel. Bazhenov's freemasonry was clearly reflected in the Tsaritsyno buildings. The decor of many buildings, the mysterious lacy stone patterns, clearly resemble Masonic ciphers and emblems; the very construction of the ensemble, its layout is sometimes also considered a kind of Masonic cipher. The iconographic program of Tsaritsyn's Masonic symbols was repeatedly tried to decipher, but without any reliable result; admits that so far this is impossible. And yet ...
In Europe there was only one Masonic lodge, which also accepted ladies as its members. The symbol of this lodge was a lying pug. The design of the Grape Gates in the Tsaritsyno estate used to boast of ceramic figures of these lovely animals, but, unfortunately, they are no longer there. But, here, a vignette depicting a compass with a vine can still be seen. In Tsaritsyno, in general, there are a lot of such finds.
In November 1796, Catherine the Great died suddenly. By this time, the construction of the Grand Tsaritsyno Palace was completed in rough form, the building was covered with a temporary roof, and interior finishing work began. The new Emperor Paul I visited Tsaritsyno after his coronation in March 1797 - he did not like it. On June 8 (19) of the same year, a decree was issued "not to produce any buildings in the village of Tsaritsyno."
The Moscow tour "In the Footsteps of Freemasons" turns out to be quite voluminous.
On the bas-relief of house number 11 in Gagarinsky Lane, you can clearly see a number of symbols inherent in the secret lodge - standard for Masonic symbols - a square, an ax and a spatula.
Masonic signs have been preserved in the interior of the Central House of Writers on Povarskaya. The house was built by architect Pyotr Boytsov for Prince V.V. Svyatopolk-Chetvertinsky. Further, the mansion is acquired by Countess A.A. Olsufieva, whose husband was a famous Freemason, who lived here until 1917. Before the revolution, meetings of Freemasons were often held here. After the revolution (1928) this castle was transferred to the Union of Writers. It was this house that was the prototype of the massolite in M. Bulgakov's novel The Master and Margarita. In 1995, the Grand Lodge of Russia was registered in this building.
The house of the insurance company of Russia on Sretensky Boulevard is one of the most beautiful architectural monuments. The famous architect La Courboisier said that you can demolish the entire historical center of Moscow, but be sure to leave this particular house. The house was unique for its time: there were only 146 apartments in it, with an area of about 400 to 600 meters; own system of water supply, heating. The first residents of the house were cultural figures, then the military. In Soviet times, there were numerous communal apartments here.
Outside, the house is decorated with numerous images of wonderful animals, and a huge salamander hid under one of the balconies. I would like to note that before the house was red. The columns that frame the windows were painted white and black ("Yakhin and Boaz"). Under the very roof of the building, you can see the figurine of an elephant - a symbol of Christ's victory over death.
The facade of the Temple of the Life-Giving Trinity in Serebryaniki is decorated with a radiant delta.
The building of the former English Club (now the Museum of Modern History) is one of the few that survived the great fire in 1812. In 1826 it was rebuilt. On the left side of the central colonnade, you can see a window framed by two columns (Joachin and Boaz), Chimeras on the gate and on the building itself, a triune wreath, lions with human faces, lions with rings in their teeth (“lions of silence”)
A lot of interesting details have been preserved in this house: there are several paintings depicting Masons, fragments of a Masonic apron can be seen on the walls. It is worth paying attention to a small rectangular room, without windows. In the details of the interiors, you can see a rope that encircles one of the rooms. Such symbolism among the Masons meant that all Masons were connected by a single thread. The second meaning - if you once got into this circle, then it will be difficult to get out of it.
Annotation.
The following symbols of statehood, erected in Moscow as the capital of Rus'-Russia-RF, are considered: the Kremlin (irreplaceable) with Ivan the Great, the Church of the Intercession on the Moat, the Cathedral of Christ the Savior, the Tatlin Tower, the Palace of Soviets with a system of high-rise buildings, the International Business Center Moscow- City. The absence of significant symbols of statehood in the architecture of Moscow in the 1920s and 1960-1980s is noted. - the time of the dominance of democratic ideas and functional architecture. The idea of the international role of the state contained in each of the architectural symbols is clarified. The semantic load of the compositional and planning connections of symbols is established, including the connections of Ivan the Great with neighboring cities and significant noble estates near Moscow; Palace of Soviets with the rest of the skyscrapers and other Stalinist new buildings. The semantic significance of axial constructions, traditional for urban planning, allows us to offer an explanation for the southwestern direction of development of Moscow adopted today.
Keywords: cultural studies, state symbol, Rus'-Russia-RF, Moscow, architecture, urban planning, planning axis, history, image, simulacrum
10.7256/2306-1618.2013.3.2310
Date of sending to the editor:
15-05-2013
Review date:
16-05-2013
Publication date:
1-6-2013
abstract.
The author views the symbols of statehood that have been built in Moscow as the capital of Old Russia, Russia and the Russian Federation. These symbols include the Kremlin with Ivan the Great, Saint Basil's Cathedral, Cathedral of Christ the Savior, Tatlin's Tower, Palace of the Soviets and Moscow City International Business Center. Noteworthy that there were no significant symbols of statehoo in Moscow architecture in the 1920"s and since 1960 till the 1980"s when democratic ideas and functional architecture dominated. The author underlines that each architectural symbol presents the idea about the international role of the Russian state.
keywords:
Cultural research, national symbol, Old Russia - Russia - the Russian Federation, Moscow, architecture, city building, planning axis, history, image, simulacrum
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Our society is preoccupied with the search for a common path, a national idea that could unite around itself a now scattered community of individuals who have lost their purpose, a national idea to which one must strive, for which it makes sense to work, and for some even to live. The goal in the form of a state ideology is now missing, which is enshrined in Chapter 13 of the current Constitution. However, over many centuries, people got used to the presence of a state idea, which was formulated in words and reflected in various spheres of society, becoming a collective unconscious.
Architecture has always been a visible material embodiment of state ideas, reflecting in its forms state priorities in various spheres of public and private life. State ideas are most clearly expressed in special structures that are created to play the role of state symbols. Such architectural structures reflect the key state ideas regarding the purpose of the state, its role and place in the world. They are significant works of art, as well as organizing and subordinating large spaces and constantly affecting the psyche of the beholder. Symbols unite the people involved in them. A special social behavior is assumed in relation to the symbols: they are especially honored by those involved, destroyed by enemies, defiled by fighters (blasphemers). That is, they are objects of special significance.
Modern philosophy believes that a symbol is the most capacious and concentrated form of expression of cultural values and meanings. By virtue of the visual image contained in it, the symbol is used to express the most significant and abstract content. The structure of the symbol is multi-layered. “The symbol cannot be explained by reducing it to an unambiguous formulation, therefore its interpretation is devoid of the formal clarity of the exact sciences. The essence of the symbol will be lost if its infinite semantic perspective is closed by one or another final interpretation.
Moscow, as the capital of the state, regularly created state symbolic marks on its territory, expressing in concentrated form the most important state ideas. Following the architectural symbols of Moscow of the past, one can see the picture of the present more clearly, appreciate the symbolic significance of the architectural and urban complexes being created in our time and, moreover, clarify the state idea based on them - the idea of the state embodied in stone about itself.
Let's see what architectural structures can be considered symbols of statehood in Moscow.
The unshakable symbol of statehood in Moscow now and in former times is Kremlin- the historical and cultural core of the capital - a complex combination of images of power, politics, economics, religion, history and culture. It was built as a stronghold and a symbol of the state, claiming leadership. During the construction of the Kremlin, the powerful state idea of Ivan III - "Moscow - the third Rome" was embodied, symbolic signs of Rome and Constantinople were used. All the main roads of the state, leading from the centers of the newly annexed principalities, converged to the center of the third Rome. (Fig. 1) The Kremlin was supposed to become the face of the state, became it and is still. Its appearance symbolizes the state on the world stage. The very phrase "Moscow Kremlin" is now a verbal symbol of the Russian state power. The idea of statehood lies on the entire Kremlin - on walls, towers, cathedrals, residential and government buildings (it is not for nothing that there are many who want to use its easily recognizable parts as a trademark, and the patent office must seek permission from the Kremlin before registering this mark ), but during the construction of the Kremlin, a special object was chosen, designated to be a concentrated symbol of state power. This is a famous pillar Ivan the Great, the bell tower of the Cathedral Square. Pillars also stood in the first two "Romes", symbolizing the center of the state and the power of the capital over the outskirts.
Ivan the Great was placed in the center of the Kremlin at the beginning of the 16th century, became its vertical dominant, which gathered around itself a new architectural and urban planning ensemble. (Fig. 2) This symbol, in accordance with the requirements of the time, affirmed the power of the “great Russian Ivan” not only on earth, but also in heaven, since the church of St. For the first time, a temple "under the bells" with such a dedication was built here by Ivan Kalita, and reproduced by Ivan Sh during the construction of the existing bell tower. It was not allowed to build higher than the Ivanovo pillar throughout the state, this was seen as a usurpation of power, everyone approaching Moscow was guided by it as the center and vertical dominant. Until now, it is visible from many streets leading to the Kremlin (Yakimanka, Prechistenka, Vozdvizhenka, Nikitskaya, Lubyanka, Ilyinka, Varvarka, etc.).
When the capital moved to St. Petersburg, architectural symbols corresponding to the new state and stylistic ideas began to be created there. But the role of the medieval Kremlin as a symbol of statehood continued to be supported by coronation procedures. The state importance of Ivan the Great in the second half of the XVIII century. found a new way of reinforcement - the nobles began to orient their suburban estates on it, who gradually returned to Moscow and equipped the estates near Moscow in accordance with the new fashion. Among the obligatory artistic techniques in the organization of estates was the axial construction, which was obligatory for the organization of ensembles and individual structures. It was the manor axis that the nobles used for a symbolic connection with Ivan the Great. I have identified four estates of the most noble noble families, who thus connected themselves with the pillar of statehood. These are Petrovskoye-Razumovskoye, Pokrovskoye-Streshnevo, Ostankino and Fili-Pokrovskoye.
In the estate of Petrovskoye-Razumovskoye, the axis on Ivan the Great was created in the 1760s.A. K. Razumovsky. It started from the Church of Peter and Paul (demolished in the 1930s). Along this axis-road (now Timiryazevskaya street) the main buildings of the estate were located. In the estate of Pokrovskoye-Streshnevo, to date, the axis is fixed only in the house itself, but on the plans of the 19th century. it is visible both in the park and outside it in the form of an alley directed to Ivan the Great. Passing through the main house and the park, it continued along the road through Maryina Grove (now Sheremetevskaya Street). The Fili Naryshkin estate is oriented towards Ivan the Great with a powerful park road that connected the Naryshkin manor (it stood on the high bank of the Moskva River) with the Church of the Intercession and visually rushed behind it to the state pillar.
Directing the planning axes of the estates, underlined by alleys or clearings, to Ivan the Great, their owners obviously emphasized devotion to power, their involvement in state activities, and the continuation of public service in private life. Interestingly, when considering the planning axes of all four estates on the plan of Moscow (Fig. 3), a right angle between the axes of the extreme estates (Ostankino and Fili) is clearly visible. It is unlikely that this could be pure coincidence, rather, behind this is an attempt to involve the state symbol in the ideological program of free masons, which in no way contradicts the previous state program.
In addition to the main symbol of statehood, which was Ivan the Great, next to the Kremlin there are symbols of the most important military victories of the state. In the middle of the XVI century. the Church of the Intercession on the Moat (St. Basil's) appeared, three hundred years later - the Church of Christ the Savior. In height, each of them exceeded the main pillar of the state. Both claimed victory over the Gentiles, the first - over the Muslims, the second - over the Catholics. However, the symbolic significance of each went beyond the designated scope of the military-religious memorial.
Cathedral of the Intercession(Fig. 4) claimed to be likened to the heavenly Jerusalem, to the embodiment of the heavenly throne in the space of Red Square and, more broadly, in the space of the sacred city of Moscow. Being a symbol of victory over the Muslims, he also embodied the imperial idea of peaceful coexistence with them. This was emphasized by the combination of Christian and Muslim forms in its appearance, as well as by the location of the production - at the main crossing of the nomads across the Moscow River. It is symptomatic that the Tatars were settled on the opposite bank. On the other, northern side of the temple, Red Square acquired a formal character. Researchers note that it was this temple that became the physical center of the magic circle that engulfed Moscow at the end of the 16th century in the form of Skorodom (later Zemlyanoy Val).
Cathedral of Christ the Savior (Fig. 5) was created as a symbol of gratitude to God for the salvation of the Fatherland in the war of 1812. The highest temple in the state ( height 100 m) was to become the main temple of the Orthodox world. It embodied the idea of Russia's messianic mission as a savior from adversaries of all times and the historical mission of Moscow as the capital of the Christian world. This idea is clearly expressed in the artistic decoration dedicated to various victories over the infidels, and in the memorial exhibition associated with the war of 1812. In addition, the state doctrine “Orthodoxy, autocracy, nationality” was first embodied in the architectural forms of the temple, which was voiced by Count Sergei Uvarov in 1833. According to this theory, nationality was understood as the need to adhere to one's own traditions and reject foreign influence. And the architect of the Cathedral of Christ turned to the origins of Orthodox architecture, to the images of the time when the Russian people were united - not split from Western influences. As a result, a new Russian-Byzantine style was created, which corresponded to the policy of Nicholas I.
As you know, the temple did not stand for very long, and after its rebuilding in 2000, its ideological significance acquired a new color: it became a state symbol of atonement for the sins of atheistic times.
The revolutionary upheaval and the striving of the development of the state into a bright future gave rise to the search for new symbolic forms to reflect this global state idea. These searches were most vividly embodied in the V. Tatlin Tower (1920) - a project of a giant tower designed to house the governing bodies of the Comintern. The avant-garde spiral tower, 400 meters high, claimed the planetary significance of the state, was a symbol of the endless development and unity of the progressive forces of the world. Traveling around the world, the model of the tower acquired an additional symbolic meaning. Tatlin's project was intended to be implemented in Petrograd and was obviously unfeasible in the hungry twenties.
For Moscow, which again became the capital of the state in 1918, fantastic projects were also proposed, consonant with the times. But the difficult economic situation and the democratic style of functionalist architecture did not allow the construction of grandiose state symbols. At the same time, many bright, avant-garde buildings, functionally necessary for the capital of the new state, symbolically reflected the state policy in the areas of ideology (clubs, newspaper publishers, planetarium), management (trusts, ministries, departments), mass physical culture (stadiums).
The idea of a gigantic tower reappeared during the totalitarian period, which corresponded to gigantic construction projects and colossal structures.
As a symbol of statehood in the early 1930s. construction was planned Palace of Soviets(Fig. 6), which was to become the main ideological monument of an atheistic state. He was supposed to take the place of the former symbol - the Temple of Christ, located on the nodal section of the city. In the project, the building of the Palace, intended for government agencies, was the foot of a huge statue of Lenin. The height of the Palace with the statue was supposed to be higher than all the known structures of that time (415 m without the statue). In connection with the construction of the "navel of the communist universe," it was supposed to regularly play in the center of Moscow the most interesting mystery, dedicated to the immortality of Ilyich - his ascension after the Assumption. For people's processions, an avenue of the Palace of Soviets was to be created, along which the masses would move from Lenin's resting place in the mausoleum to the place of his ascension at the Palace of Soviets. The Soviet "religious procession" could become a kinetic symbol of the country of the Soviets.
This symbol of the new state existed only on paper, but in the 1930s - 1950s. was perceived as mandatory for implementation and accounting during construction in the center of Moscow. The Palace of Soviets was considered as a visual goal when designing entrances to the city, when punching Novo-Kirovsky (now Sakharov) Avenue, and, finally, they had this goal in mind when placing the main high-rise buildings of Moscow - Moscow State University on the Lenin Hills and designing the Luzhniki complex. As a result of the subordination of the main building of Moscow State University, the square with an observation deck over the Moscow River and the stadium complex in Luzhniki to a single planning concept, a very strong planning axis was created, aimed at the Palace of Soviets.
Since the Palace of Soviets was never built, and a flat pool was created in its place, Ivan the Great again managed to play the role of a center of attraction for the most important planning axis of the capital for a short 50 years. It was not customary to talk about this, and Ivan the Great could not be a symbol of Soviet statehood. Looking ahead, we note that the 1991 coup also affected symbols. The return of the political significance of Ivan the Great is evidenced by the fact that he was chosen by the revolutionary-minded Sergei Udaltsov as the site of an illegal action - scattering leaflets from him on the anniversary of the president.
Stalin's time in architecture was the time of large-scale ensembles. One of them was to be ensemble of high-rise buildings with a monument that has never been realized - the Palace of the Soviets in the center. The completed part of the ensemble of seven skyscrapers can be attributed to the symbols of statehood of the second order. (Fig. 7) This system was designed to reflect the strength and power of the state that won the war, and had a memorial load associated with the celebration of the 800th anniversary of Moscow. It provided the space of the city with vertical dominants, the height of which (from 150 to 250 m) reflected the desire to "catch up and overtake the USA." In decorative terms, they met the requirement for architecture to be "national in form and socialist in content." In addition to the meanings of these skyscrapers that have become traditional, another one is now being put forward, which can be accepted as a completely plausible version. Its essence is that Stalin, preoccupied with his "life after death", created energy centers (like pyramids of the pharaohs with antennas) and wanted to be buried at the intersection of their energy flows - in the Palace of Soviets.
At the stage of simplified functionalism that came after Stalin's time, they did not claim to create outstanding symbolic structures. The construction practice of the 1960s-1980s is much poorer than on the wave of post-revolutionary functionalism. Symbols of statehood are much less expressive, since the architecture of this time is less interesting. N. S. Khrushchev and the chief architect of Moscow, M. V. Posokhin, left on the face of Moscow symbols corresponding to state activity during the period of relative democratization under the leadership of the CPSU. These include the Kremlin Palace of Congresses of the CPSU (1961) - a sign of the power of the ruling party, a sign of the renewal of the language of architecture (a departure from Stalin's excesses), but also a sign of disdain for the architectural monuments of the Kremlin. The building of the Council for Mutual Economic Assistance (the economic organization of the socialist states that existed from 1949 to 1991) became a symbol of the economic unity of the states of the socialist camp. The ninth quarter of Novye Cheryomushki can be considered a symbol of the new policy in the field of housing construction. He is ugly, few people can show him, but the image was created and scattered throughout the country, covered with five-story buildings. In 1980, the "White House" was specially created for the executive state power. His ordinary architectural face is quite consistent with the functional task of routine Soviet administration. In the early 1990s his image received a negative imprint - the places of the state's massacre of civilians. As a result, this symbol of government had to be placed behind a high fence, which is in a funny contradiction with the name of the square, which bears the name of Free Russia.
In the post-Soviet era, Moscow, as the most important subject of the federation, assumed responsibility for the symbolic embodiment of the new state ideology through the creation of a new urban center. Moscow International Business Center ( Moscow City)(Fig. 8) was intended to reflect the transition of the state to the new economic policy, its integration into the existing global financial processes and flows. The city, like the historical center, is located on the banks of the Moskva River - the main landscape axis of the city. Here they began to build the highest skyscrapers in Moscow, reproducing the architectural samples developed by the world community (the Russia tower designed by Norman Foster was supposed to have a height of 600 m). The symbol of the power of money in Luzhkov's Moscow has been under construction for 18 years and is partially functioning, its unfinished towers visually hang over the Kremlin when viewed from the east. The office and commercial essence of the center and the state ideas behind it testify to the auxiliary role that our capital has assigned to itself in the world. The rapid completion of the construction of the center was prevented by the financial crisis (the result of the imperfection of the world economic system) and the change of the mayor. The new mayor declared this unfinished symbol, designed to bring international financial flows to Moscow, and thus enrich the capital, an urban planning mistake. The error was noted, first of all, from the point of view of the organization of transport services.
After Yu. Luzhkov's resignation, no attempts were made to create new state symbols with the help of architecture. However, in 2011, an extraordinary radical state decision to change the plan of Moscow- it was proposed to add an extensive “skirt” from the southwest to the oval of the Moscow Ring Road, which is familiar to Muscovites. (Fig. 9) The solution was presented by President D.A. Medvedev in July 2011 and officially adopted in July 2012. This kind of ambitious urban planning action, leading the city away from centricity, was undertaken in Moscow for the first time in its entire existence, and it is, of course, the most important state action.
It seems self-evident that such decisions must be convincingly justified. And before there were proposals to change the traditional uniform development of Moscow on the basis of a radial-ring system. Proposing the direction of development along one or several axes (competitive projects of the early 1930s and late 1980s), their authors justified their decision by the new transport structure of the agglomeration, the predominance of urbanized territories and other urban realities. For example, N. Ladovsky's proposal of the 1930s is well known, where Moscow was supposed to, developing along Tverskaya, “join” with Leningrad. In this case, as a rationale, the transfer of federal officials to the “skirt”, to the Kaluga highway, was put forward to relieve traffic tension in the city center. This justification was quickly shattered by the resolute rebuff of the officials. As a result, the traffic situation in the center will not change due to the appearance of the skirt (may get worse), but the traffic collapse in the southwest direction is guaranteed.
Thus, the idea that received the force of law did not receive a clear justification. This makes one think about some subconscious or unspoken impulses of its authors. Some answer to the question about the invisible reasons for such a decision is given by the chosen direction of Moscow's development. The orientation of the composition, as mentioned above, plays a significant symbolic role in urban planning. The new "skirt" has a clear axis, which starts from the center of Moscow and goes southwest along the Starokaluga highway to Kaluga, followed by Kozelsk with Optina Pustyn on the axis. After that, the axis continues along the impassability, bypasses large settlements and state borders, and rushes to the seaside city of Odessa, after which it sinks in the waters of the Black Sea. (Fig. 10)
It is possible to interpret the direction of the axis of development of Moscow towards Odessa in different ways. Allowing everyone to put forward their own version of the direction of this axis, for my part, I propose a variant in which this is the subconscious desire of the authorities to restore historical justice - the return of the largest Russian city, created by Catherine II and considered at the end of the 19th century. the third capital of the empire. As the poet said, "from here it is much closer to London and Paris." However, it is possible that the now popular simulacrum (lack of connection between the signifier and the signified) is found here, and the direction of Moscow's development was chosen by chance, without any global state idea, based only on the convenience of “cuts”, “kickbacks” and other similar realities of modern state life.
Chernyavskaya E.N. Explicit and secret in the architectural symbolism of Moscow // Man and Culture. - 2013. - No. 3. - P.18-34. DOI: 10.7256/2306-1618.2013.3.2310..html
