Saransky Cooperative Institute of Moscow University of Consumer Cooperation.

Abstract of cultural studies on the topic:

Russian cultureXIV - XVIIcenturies.

Performed: Plusinin I. G.

Checked:Alabdin O. E.

Saransk 1997.

1. Introduction.

2. Architecture.

3. Fine art.

With the X century Almost half of the European part of Russia became part of the feudal old Russian state, where distinctive artistic culture with a number of local schools (South-Western, Western, Novgorod-Pskov, Vladimir-Suzdalskaya), which has accumulated the experience of building and landscaping cities, which created the wonderful monuments of ancient architecture, Frescoes, mosaics, icon painting. Its development was interrupted by the Mongol-Tatar invasion, which led an ancient Russia to economic and cultural decline and to the separation of the South-Western land, included in the Polish-Lithuanian state. After the stagnation of stagnation in the ancient Russian lands located in Russia since the end of the XIII century. The Russian (Great Russian) artistic culture begins to develop. In its development, tangible than in the art of ancient Russia, the impact of urban bases that became an important social force in the struggle for the relief of the Mongol-Tatar yoke and the unification of the Russian lands were manifested. Headed already in the XIV century. This struggle is high-rise Moscow synthesizes the achievements of local schools and from the XV century. It becomes an important political and cultural center, where the art of Andrei Rublev's artist and a commensurate person in his grandeur of the Kremlin's architecture is being folded into the beauty of the moral feat. Apotheosis of the ideas of the union and strengthening of the Russian state embodied temples-monuments of the XVI century. With the development of economic and public relations in the XVII century. The separation of individual areas is completely eliminated, and international relations are expanding, in art grow secular traits. Without leaving in general almost until the end of the XVII century. Outside religious forms, art reflected the crisis of official church ideology and gradually lost the integrity of the worldview: direct life observations destroyed the conditional system of church iconography, and the details borrowed from the Western European architecture were conflicted with the traditional composition of the Russian temple. But this partly prepared a decisive liberation of art from the influence of the Church, which took place at the beginning of the XVIII century. As a result of Peter I. Reforms.

After the Mongol-Tatar invasion, the annilateral of the chronicles mention only about the construction of wooden structures that have been preposed to us. From the end of the XIII century. In the avoiding ruin of the North-Western Russia, stone architecture is reborn, primarily a military. Stone urban strengthening of Novgorod and Pskov, fortresses on curval capes (Coporye) or on islands, sometimes with an additional wall at the entrance, forming together with the main protective corridor - "Zakhab" (Izborsk, Porch). From the middle of the XIV century. The walls are enhanced by mighty towers, at the beginning above the gate, and then throughout the perimeter of fortifications receiving in the XV century, planning close to regular. Uneven laying of rudely dyed limestone and boulders emphasized painting and strengthened their plastic expressiveness. The same was the laying of the walls of small single single four-pole churches of the end of the XIII - the 1st half of the XIV centuries, which the coating of the facades gave the monolithic appearance. Temples were built on the means of boyars, rich merchants. Becoming architectural dominants of individual areas of the city, they enriched his silhouette and created a gradual transition of a representative stone Kremlin to an irregular wooden residential building, the next natural relief. It prevailed 1-2 storey houses on the lines, sometimes three-part, with hay in the middle.

In Novgorod, his former layout developed, the streets leading to Volkhov were gained. Stone walls of the devints and the near city, as well as churches built on the means of individual boyars, merchants, and groups of citizens, changed the appearance of Novgorod. In the XIII-XIV centuries. The architects are transferred at the end of the facades of churches from the semicircular-"bump" to more dynamic front-alone - "tongs" or more often to three-sand curves that replied the form of arches, lower above the corners of the temple. Majestic and elegant temples of the 2nd half of the XIV century. - Pores of the heyday of the Novgorod Republic, - fully reflecting the worldview and tastes of citizens. Slender, elongated proportions, coated with eight slopes on a three-sandy curve, which later was repeatedly reworked on the plug-in, they combine the painting and plastic wealth of architectural decor (pinned blades on the facades, decorative arcades on apsides, patterned brickwork, embossed "brings" above windows , Strengthened completion of promising portals) with tectonic clarity and compactness as dire struggle. Wide alignment of pillars inside made spacious interiors. In the XV century Novgorod temples are becoming an intimate and more comfortable, and they appear pelpets, the porch, pantry in the subchart. From the XIV-XV centuries. In Novgorod, stone residential buildings with lungs and porches appear. The one-headed "Granuita Chamber" of the Archbishop of the Eviefimy Archbishop, built with the participation of Western masters, has gothic vigorous vaults. In other wards, the walls were shaped with blades and horizontal belts, which turned into monastic meadows XVI century.

In Pskov, who became independent of Novgorod in 1348, the chief, the Trinity Cathedral had, judging by the figure of the XVII century., Common, located at different levels, three guns and decorative details close to Novgorod. Put in the Kremlin (chrlen) on a high caulation during the confluence of Pskov and the Great, the cathedral dominated the city, which grew to the south, forming new, fenced by stone walls of the part cutting the streets leading to the Kremlin. In the future, Pskovichi was developed by the type of four-pipped trochappsid parish church with a chanting basis, and later and an eight-discharge coverage. Galleries, the features, the porch with thick round pillars and the bellamen were given to this, as if flattered from the hands of squat buildings, built outside the Kremlin, a special painting. In Pskov's crucible monaxid churches of the XVI century. The drum with the dome relied on intersecting cylindrical vaults or stepped arches. In Pskov, as in Novgorod, the streets had log pavements and were also built up with wooden houses.

With the beginning of the revival of Moscow in it in the 1320-1330s. The first blonde temples appear. The preserved Assumption Cathedral and the Savior Cathedral on Boru with the belts of the carved ornament on the facades were sealed with three apsides by the Vladimir Temple of the Domongol Pore. In the second half of the XIV century. The first stone walls of the Kremlin are being built on a triangular in terms of a hill when the rapid river is pushed into Moscow. In the east of the Kremlin, the Posad with a parallel Moscow River Main Street. Similar to the plan with earlier, temples of the end of the XIV - early XV centuries. Thanks to the use of additional kokoshnikov, at the base of the drum, raised on the bombarded arches, received a long-term composition of the tops. This gave buildings a picturesque and festive character, intensified by the Cyle-shaped outlines of the bump and the tops of the portals, carved belly and subtle half-colonels on the facades. In the Cathedral of the Moscow Andronikov Monastery, the angular parts of the main volume are strongly reduced, and the composition of the vertex is particularly dynamic. In the crucible churches of the Moscow school of the XV-early XV centuries. Each facade was sometimes crowned with three kokoshniki. In the formation by the end of the XV century. The centralized state has put forward a task to widely deploy the construction of fortress structures in cities and monasteries, and in its capital - Moscow - to build temples and palaces that meet its meaning. For this, architects from other Russian cities, Italian architects and fortification engineers were invited to the capital. The main building material was brick. The Moscow Kremlin, which accommodate the residence of the Grand Duke, Metropolitan, Cathedrals, Boyars, Monasteries, was in the second half of the XV century. Extended to the current dimensions, and Postera swept it from three sides and was cut into radial streets. In the east of the Kremlin, the Red Square arose, part of the pose was surrounded in the 1530s. stone wall and then stone Wall The white city and the treble wall of the earthen city surrounded the capital with two rings, which determined radially - the ring layout of Moscow. Monasteries-fortresses who defended approaches to the city and consonant Kremlin in their silhouette, over time, became composite centers in the outskirts of Moscow. Radial streets with log bridge led to the center through the gates of earth and white cities topped with towers. Residential building of urban streets consisted mainly of wooden houseswho had two - three floors on the lines, individual roofs over each part of the house, medium sense and porch. The Kremlin of other cities, as in Moscow, followed their plans to the relief of the area, and on even places they had right rectangular plans. Fortress walls have become higher and thicker. Cutting braces and teeth in the form of a swallow tail applied by Italian architects in the Moscow Kremlin, appeared in the Kremlin Novgorod, Nizhny Novgorod, Tula, and others. Later, the tower began to decorated with blades and horizontal traction, and loopholes - platbands. Freely from new influences were the fortresses of distant Kirillo-Belozersky and Solovetsky monasteries, with powerful walls and towers folded from large boulders and almost devoid of jewelry.

The preserved part of the Grand Dummy Kremlin Palace in Moscow with a huge one-headed hall is endowed with the features of Western architecture (faceted Rust, paired windows, Renaissance eaves), but the entire composition of the palace, who was found from individual buildings with transitions and feces, is close to the composition of the wooden chorus. In the architecture of the Assumption Cathedral of the Moscow Kremlin, which was proposed to build like the XII Cathedral of the same name. In Vladimir, the traditions of Vladimir-Suzdal architecture were substantially rethought. The majestic five-core temple with rare sliding windows, cutting into mighty drums and in the stroit of walls, stuck with the arcate frieze, more powerful by proportions and monumental than its prototype. An impressive contrast of a few harsh facades of the cathedral is the interior with six evenly aparted by high thin pillars, giving him the appearance of the Paradinary Hall. The temple-bell tower of Ivan the Great, who dominated not only not only over the Kremlin, but also over the entire Moscow, became a traditional model for such high-altitude dominant and in other Russian cities. An attempt to transfer to the Russian Temple The motives of the early Venetian Renaissance led to a non-compliance with the long-term members of the facade. In other churches of the second half of the XV-XVI century. There are characteristic of the Moscow architecture of the XIV-XV centuries. Taruses of the Cilent baker, but their rhythm is less dynamic, and the measured members of the facades, decorated with arcate friezes of patterned masonry with terracotta details, make temples in elegantly magnificent. Terracotta parts are found in Belozerier and the Upper Volga region, for example, in the Palace Chamber in Uglich, where the cripples are crowded over smooth walls filled with patterned brick masonry with terracotta inserts. The facades of other secular buildings of this time are usually modest.

From the XIV-XVI centuries. Several wooden churches have been preserved. Earlier - "tankers", reminiscent of the hut with a two-tie roof and annexes. Church of the XVI century. - High, octaigrated, covered with a tent, and an extension from two or four sides have curvilinear kats-shi - "barrels". Their slender proportions, contrasts of figured "barrels" and a strict tent, harsh chopped walls and carving galleries and the poles, their inseparable communication with the surrounding landscape - evidence of high mastery of people's masters - "antodes" who worked by artels.

The growth of the Russian state and national self-consciousness after the overthrow of the Tatar IGA was reflected in the stone churches-monuments of the XVI century. Being a high achievement of Moscow architecture, these majestic buildings are dedicated important eventsThe duration of the wooden tent churches and the XV-XV centuries are combined in themselves. With the monumentality of the Cathedral of the XVI century. In the stone churches-towers, the molds inherent in stone were the leads, the tiers of the baker and Kokoshniki around the tent cutting windows. Sometimes the tent was replaced by a drum with a dome or the tower with domes surrounded the central, covered with a tent tower. The predominance of verticals emphasized the dynamic dynamism of the composition of the temple, as if growing out of the surrounding open "Gulbishchi", and the elegant decor attached to the construction festive solemnity

In the churches of the end of the XV and XVI centuries. The use of the so-called crucifier arraying on the walls, saved the interior from the support pillars and allowed to diversify the facades, which were obtained by the three-bladed, the simulator conclusions completed, then they were crowned with kokoshnikov tiers. Along with this, four-headed five-foot churches were continued, sometimes with galleries and adhesives. Stone one-headed refectory and residential monastery buildings XVI century. They have smooth walls crowned with a simple eaves or belonging of patterned masonry. In residential architecture, the tree dominated from which at home in 1-2 floors, and the boyars and bishop palaces, consisting of multi-pipe groups on the lines connected by transitions.

In the XVII century The transition to the commercial economy, the development of domestic and foreign trade, the strengthening of the central government and the expansion of the country's borders led to an increase in old cities and the emergence of new ones in the south and east, to the construction of living rooms in the south and east, to the construction of living rooms and administrative buildings, stone residential buildings Boyar and merchants. The development of old cities was accounted as part of the current planning, and in new cities, the fortresses were trying to make regularity in the planning of streets and the form of quarters. In connection with the development of artillery, the city was surrounded by earthen shafts with bastions. In the south and in Siberia, wooden walls with an earthfront, which had towers with attachments and low toll roofs were built. Stone walls of mid-Russian monasteries at the same time lost their old defensive devices, became more elegant. Monasteries have become regular. The enlargement of Moscow's scale caused a superstructure of a number of Kremlin structures. At the same time, the expressiveness of the silhouette and elegacity of the decoration was more thought than about improving the defensive qualities of fortifications. A sophisticated silhouette and rich blonde carnis threads, porch and curly concubines received a terman palace built in the Kremlin. The number of stone residential buildings increases. B XVII century. They were usually built on a three-part scheme (with hay in the middle), had utility rooms in the lower floor and the outer porch. The third floor in wooden buildings was often skewed, and in stone - with a wooden ceiling instead of archs. Sometimes the upper floors of stone houses were wooden. In Pskov at home XVII century. Almost devoid of decorative decoration, and only in rare cases windows were framed by platbands. Middle-Russian brick houses, often asymmetrical, with different in height and shaped roofs, had eaves, intermediate belts, embossed platforms from profile bricks and decorated with coloring and language inserts. Sometimes a cross-shaped scheme of the plan was used, a connection at the right angle of three-part buildings, the inner stairs instead of external.

often consisted of three-part sections forming long housings. Administrative buildings XVII century. Low to residential buildings. The living room in Arkhangelsk, which had 2-storey buildings with housing at the top and warehouses below, was at the same time a fortress with the towers who dominated the environment. The expansion of the cultural relations of Russia with the West contributed to the emergence of houses and palaces of orders and irrigation testers on the facades of houses and palaces, in the spread of which Belarusian ceramists who worked in Patriarch Nikon on the construction of the Novo-Jerusalem Monastery in Istra played. The decoration of the Patriarchal Cathedral began to imitate and even sought to surpass it with elegacity. At the end of the XVII century. Orders were performed in white stone.

In churches for the XVII century. There was the same evolution from complex and asymmetric compositions to clear and balanced, from the picturesque brick "pattern" of the facades to a well-posted order of dedication. For the first half XVII in. Typical crucible with a closed arch "patterned" churches with refectory, feathers and bell tower. They have five chapters, the heads over the chapels, tents over the porches and bell tower, kokoshnikov tiers and the housing architectural architecture of the eaves, platbands, compound belts. With its fractional decor, a picturesque silhouette and complexity of volume, these churches resemble multi-tubes rich choirs, reflecting the penetration into the church architecture of the secular beginning and losing the monumental clarity of the composition.

In the first decades after the Mongol-Tatar invasion, painting is being revived. In the context of internationally reduced international and interregional relations in the 2nd half of the XIII century and at the beginning of the XIV century. Finally crystallizes the old schools of painting and new ones are formed.

In the icons and in miniatures of the manuscripts of Novgorod, already with the 2nd half of the XIII century. Purely local traits, which have developed here in the XII century paintings are determined: a clear image is not complicated by allegories, several elementary large pattern, decorative brightness of color. On the superior church of Nikola's church performed by Alex, Nikola's Church on Lipne, Nicholas, is presented as a careful mentor and assistant to people. Rounded lines, elegant ornamentation reflected the impact of decorative trends of folk art.

In the cities of Northeast Rus, the painting survived from the invasion has developed for a long time on a domification basis. Art workshops were focused on the bishops and princely courtyards, and their works have a church, or a custom princely character. Rostov icons of the XIII-XIV centuries. Characterized by translucent paints, gentle and warm colors. Great icons were very popular, in which the literary narrative narrative is pronounced. Some outstanding icons and facial manuscripts of the XIII-XIV centuries are connected with Yaroslavl. The icon "Boris and Gleb" stands out solemn beauty, but its writing is not accurately installed.

In the 70s and 190s of the XIII century. There was a Tver school of painting. The painting of the Savior Transfiguration Cathedral in Tver, filled with local masters, was the first attempt to appeal to monumental painting after the Tatar invasion. For not very high in the quality of Tver icons and manuscripts, blesses are characteristic of white, white, red, blue, and decorative combinations. A somewhat later Tverskaya emerged Moscow school, the early monuments of which indicate the close connections with Rostov and Yaroslavl.

In the XIV century With the beginning of the widespread construction of stone temples, fresco painting is being revived. The frescoes of the Covenogorsk Monastery Cathedral near Pskov in style are close to the painting of Novgorod type Neretric. Novgorod painting of the 2nd half of the XIV century. more free in character. Some of them are fulfilled by conversations from Byzantium: the frescoes of the churches of the rescue on Ilyin street and the audit on the volotoval field. Others are written by southern Slavs: frescoes of the churches of the Savior on Kovalev and Christmas in the cemetery and the church of Mikhail Archangel of the Skovorodsky Monastery.

The most impressive frescoes of the church of the Savior in Ilyin Street, performed by Feofan Greek, as well as the frescoes of Volotov, striking on the spiritualized patteer of images and artistism. The muffins of Feofan at their harsh expressiveness, exceptional freedom of composition and letters are not equal to themselves not only in Russia, but also in Byzantium. The frescoes of the corner chamber on the choirs are well preserved: images that embody ascetic ideals are distinguished by psychological tensions, the technique of writing - the dynamics and originality of the techniques, flavor the extreme restraint. The Divine and Saints appear at Feofan in the form of a formidable force, designed to manage a person and remind him of the exploits in the name higher idea. Their dark faces were running on white glare, in front of the contrast of which they acquire a particular dies to be crushed yellow, crimson, blue tones of clothes, render direct and deep impact on the viewer. Fiendor's frescoes Stratistically close to paintings of the Savior in Ilyin Street. It is possible that the Russian masters who studied in Greeks participated in their performance.

The fresco influenced the style of Novgorod Icons of the XIV century., Made by more free and picturesque. Works of Pskov icon painters of the XIV century. It is highlighted by a bold color modeling and an unusual flavor based on a combination of orange-red, green, brown and yellow tones. The dusk expressiveness of the saints of non-Pskov icons detects their known proximity to the works of Feofan Greek.

In the north in the XIV century. There was a Vologda School of Painting. Her famous representative is the icon painter Dionysius Glushitsky. In Vologda icons, dark, somewhat muted tones are dominated. Resistant archaic traditions make the icons of the Northern Letters of the XIV-XV centuries. Often similar to style on monuments of an earlier period.

The flourishing of Novgorod painting occurred in the XV century. In Novgorod icons - the specific selection of saints: Ilya, Vasily, Flor and Lavr, Paraskeva Friday, Anastasia, Nicola, Georgy. They were associated in the folk consciousness with nature forces and were designed to protect a person, his home and economy. Iconography reveals traces of exposure to pagan workers, folklore, local historical events, life. Extraordinary activity and famous democracy public Life Novgorod contributed to addiction in local painting a special ideal of a person - decisive, energetic, strong. A confident harsh drawing is characteristic of Novgorod icons, symmetric compositions, bright cold tones.

From the end of the XIV - early XV centuries. Increased artistic role of Moscow. Hereofan Greek, Prokhor with Goroda, Andrei Rublev, Daniel Black. In the iconostasis of the Blagoveshchensky Cathedral of the Moscow Kremlin, Feofan has slightly increased the size of the Christ icons, the Mother of God and the Saints and reached a clear expressiveness of the silhouette ("Deesus Chin"). This chin was of great importance for the subsequent development of Russian high iconostasis. The school created by Feofan in Moscow stimulated the development of local masters developed, however, other than the Faofan style. In 1408, Andrei Rublev and Daniel Black performed a new painting of the Assumption Cathedral in Vladimir. These frescoes in traditional iconographic images reveal the deep spiritual world and the thought of contemporaries. Enlightened benevolent persons of the apostles leading to the people, soft harmonious tones of painting are permeated with a sense of peace. Written a few later ruble icons of Zvenigorodsky rank - purely Russian interpretation of Deesus theme. The image of a blessing Christ is full of inner strength and wise calm. Rublev had a rare gift to embody the bright parties of life in art and spiritual state man. In his work, there is no change in the inner confusion of ascetic disgrace of the images of Feofan soul equilibrium And the strength of the conscious moral right. The works of Rublev, being the top of the Moscow School of Painting, express ideas of a wider, nationwide. In a wonderful Icon "Trinity", written for the Cathedral of the Trinity-Sergius Monastery, Rublev created images, far reacted by the narrow framework developed by the Bogoslovsky plot, embodying the ideas of love and spiritual unity. The figures of angels sitting, bowing his heads to each other in a silent conversation, form a circle - a symbol of eternity, and smooth, harmonious lines seek the mood of bright concentrated thoughtfulness. Gentle, finely agreed tones, among which the golden and ringing blue prevail, internal freedom Exactly found compositions with its expressive rhythm are in close relationship with deeply humane ideas of this ingenious work.

In the last third of the XV century. starts his own artistic activities Dionysius. In the icons and frescoes, Dionysius and his schools, created during the formation of a Russian centralized state, led by Moscow, increase the well-known uniformity of techniques, the attention of masters to artistic form, features of festive and decorativeness. A thin pattern and refined coloring icons Dionysius, with strongly elongated graceful figures, full of elegant solemnation. But in a psychological plan, its images are inferior to Rublevsky. Created by Dionisia and his sons Theodosius and Vladimir Mural of the Council of the Farates Monastery near Kirillov were marked by the special softness of the color, the beauty of the subordinate plane of the wall of compositions with as if sliding elegant figures. Numerous works Dionysius and artists of his school caused ubiquitous irritation to them. At the end of the XV century. Moscow artists leave in Novgorod, Pskov, north, in the city of the Volga region, and the best masters of these art centers go to work in Moscow, where they get acquainted with creative techniques Capital painters. Moscow art gradually protects local schools and subordinates them with a common pattern.

In the XVI century The strengthening of the state and the church was accompanied by the theoretical development of issues on the royal power, about the attitude of the church, about the role of art in worship, about the ways of the incarnation of church plots. Art under the influence of the Stregnation of theological Literature becomes facial, scholasticly distracted. Numerous speculative allegories and symbols often darken the content and overload the composition. The letter grows, the style loses monumentality and clarity. The incredible painting of the Golden Chamber of the Moscow Kremlin, executed on the basis of the "Legend of Princes Vladimir", clearly illustrated the idea of \u200b\u200bthe continuity of the power of Moscow self-containers. Written on the occasion of the capture of Kazan icon-painting "The Church of the Militant", representing the apotheosis of Ivan the Terrible, is filled with allegories and historical parallels. In this kind of works political, secular trends became predominant. Even more, these trends performed in a miniature of a number of handwritten books. The largest book-painted workshops were in Novgorod, Moscow and the Trinity-Sergius Lavra. The fundamental "facial arch" contains about 16 thousand miniatures. Military I. genre scenes with hoped from life household details Made in graphic manner and combed watercolor. They appear multidimensional space construction, real landscape. True printing, the first experiments of which in the 50s. XVI century, marked the beginning of the Russian engraving. Ivan Fedorov found an artistic solution for her independent of iconic and miniature painting.

At the turn of the XVI-XVII centuries. In Moscow, two currents in painting were formed, conventionally called the names of their zealous supporters "Godunovsky" and "Stroganovsky", the first of them for strict style Icons and monumental painting of the XV-XVI centuries, but detected as typical of the XVI wizards. love for royal pomp, and when illustrating the psaltires revived old tradition Drawing manuscripts drawings on the fields. The Stroganov school cultivated a petty, silent-sophisticated letter, combining paints with gold and silver; Icons were written for homemade poverty rich poverty - connoisseurs of sophisticated skill. Several ramp beauty and defenseless weakness of saints in bloomed clothes, a background with a complex fantastic landscape is characteristic of the work of the masters of this school - Emelyan Moskvitin, Stephen Pakhiri, Tsarist icon painters Proofing Chirina, Savina's family, etc.

Polish-Swedish intervention of the beginning of the XVII century. delayed the development of art, but by the 1640s artistic creativity It was noticeably revived. Expanded the social contingent of customers. Along with the royal courtyard, clergy and boyars, reinforced construction and decoration of stone churches and chambers were the merchants and rejected possess people. The number of artists is growing, sometimes not professionally prepared, which reduces the overall level of skill. But among the immigrants from the city's lower and state peasants there were many people with bright giving, creating murals, icons, miniatures hit by freshness of worldview, freedom and a variety of interpretation of plots, courage of technical techniques. Art democratizes, becomes more understandable and affordable, approaching folk maidos. There are many names of the masters of the XVII century. - Moscow, Yaroslavl, Kostroma, Nizhny Novgorod, most often working in large arteel: Some masters have planned compositions on the walls of the church, others wrote persons, third - clothing and drapery, fourth architecture and landscapes, fifth - ornaments, etc. Collective creativity produced clearly expressed uniformity. In the iconopisses of the 1st half of the XVII century. Traditions of Stroganovskaya school. The author of the icon "Alexy, Metropolitan Moskovsky" lovingly glorifying the magnificent robe of the saint, and intricate clouds of the background, and the landscape eating down. In the icons designed for perceptions from afar, the shapes are larger, the line is energetic, the silhouette is expressive, the flavor is easier and the gloover. Monumental painting develops under the noticeable influence of icon painting and Western European engraving. Plots shorter to entertainment with household details are multiplied, the scales are reduced, the figure loses its former concise expressiveness, individual images are displaced without end-repeating types.

In the middle of the XVII century. The center of art painting becomes the Armory of the Moscow Kremlin, which strongly influenced Russian art in general. Her painters were masters of the widest range: they performed a wall painting, icons and miniatures, painted furniture and homemade utensils, wrote royal portraits, decorated church and secular holidays, etc. And although the frequent change of classes has developed template techniques, the weapon chamber supported art on very high professional level. Here, the first in the history of Russian art, special treatises about painting, written by Joseph Vladimirov and Simon Ushakov, who have made the problem of the vital truth of the iconic images. In the painting of Ushakov, the main attention was paid to the lightweight modeling of the form, reaching the softness of the transitions, the volume of the image, persistently achieving the impression of their reality.

In the XVII century In Russian art, a new genre has appeared - a portrait. Until the middle of the XVII century. The authors of the porters still follow the iconographic principles, and their work differ little from the icons. Later, not without the influence of foreigners who worked in Russia, techniques appear in the portrait western European painting, the features of the face are definitely fixed, the volume of the figure is revealed, although the interpretation of clothes remains flat, and the image as a whole is frozen-motionless.

The walls of the Yaroslavl and Kostroma icon painters who also worked in Moscow, Rostov, Romanov and the Borisoglebsk Sloboda, Vologda, the Trinity-Sergiye Lavra and other cities were marked by an inexhaustible fantasy, the interest of the surrounding reality. The masters were able to give the enjoyment and decorativeness of multifigure, full dynamics of multicolor paintings, covering walls and vaults of temples with a picturesque carpet. A series of scenes is composed of narrative cycles with a plurality of finely fitted household parts and with motifs of real landscapes. These murals, as well as the icons in the Yaroslavl Church of Ilya Prophet and a few excellent icons of the seeds of the Kolmogodenta, are permeated with the optimistic globility of people, even timidly, but joyfully discovering the beauty of earthly life.

The art of the XVII century, preferably narrative and decorative, sought to literature and external expressiveness, which was achieved often due to the very free interpretation of iconographic scenes and the saturation of their household details. This, as well as the constant interest of artists to the portrait and to the image of real buildings and the landscape prepared Russian art to the transition to the path of secular development. This transition was impossible, however, without the decisive liberation of art from the influence of the Church, without the introduction of a secular basis, which was carried with Peter I reforms.

Typically, the sculptures were performed in a tree, although individual works are known in the metal: Self-portrait of the Avrama masters on the trophy bronze gates of Sofia Novgorod, collected by it at the turn of the XII - XIV centuries; Tsarevich Silver Figure Dmitry Work Gavrila Otokimov "with comrades." Sculpture is found in stone: "Georgy" V. D. Yermolina, large commemorative crosses with reliefs. As a rule, a wooden sculpture was polychrome. Local painting by tempera paints brought it closer with the icon. This proximity was aggravated by the fact that the reliefs did not appear for the plane framing the image of the untouched edge of the board, and the flatted figures designed for strictly frontal perception were placed in kyota with a color background, the color density, and the weight of the volume, supporting each other, create a special intensity of the decorative sound of the sculpture. . Figures, deployed on the plane, retain the integrity and power of the rounded block of wood. Shallow geometric cuts, designating clothing and armor, emphasize the monumentality of the volume and impermeable mass hardness, in the contrast of which finely simulated faces acquire increased spirituality, detecting an internal life concentrated in majestic, frozen figures. As in painting, in sculpture, the sublime idea was expressed by rhythm, proportions, silhouette of closed compositions, endowing the body appearance of saints intense spirituality, devoid of individual traits.

For the XIV - XVII centuries. The sculpture did in general terms the same evolution as painting, from a lapidalkin, generalized interpretation of static figures to greater narrative and freedom in motion transmission. Not related directly to the Byzantine tradition, the sculpture was freely in the incarnation of a local understanding of the ideals of moral beauty and strength. Separate local schools are felt by the essay of pre-Christian traditions. These traditions, although they caused decisive measures from the Church to eradicate, found their direct development in the People's Sculpture of the XVIII - XIX centuries.

The revival of decorative and applied arts in the non-bolt time was complicated by the fact that many masters were pretty captured and a number of craft skills were lost. From the middle of the XIV century. Jewelry is animated. Salary "Gospel of Boyarina Fedor Cats" with chased embossed figures in the Multiboant Frames and with the finest scan, Yashmovy Potir work Ivan Fomin with a chasing and scan, chased Cadyl, "Zion", reproducing forms of tents and dome temples, brothers, buckets, bowls, cast With chasing, Panagir Novgorod Master Ivana retain the tectonic clarity of the shape and ornament, emphasizing the structure of the subject. In the XVI century The chasonka and scan are complemented by finifts. In the XVII century Plant ornamentation develops, completely the powered products. The Moscow and Solvychychodan finft, losing in the subtleties of the execution and integrity of the coloric gamut, wins in the brightness and richness of shades, competing with the glitter of precious stones. By order of Stroganov, Solvykhodsk are made by the items "Usolsky case", painted with bright fabulous flowers in the white ground enamel. Scene images weighing the imprint of Western European impact. From the XVI century A black with a clear beautiful pattern corresponding to the form of products is used. From the 2nd half of the XVII century. And in black is growing peculiarity, oriental motives are spread. Only by the end of the century is reborn the more rigorous ornament. Large distribution is obtained by bass, coating products made of wood, decorating icons backgrounds. In the XIV - early XV centuries. It uses an ornament in the form of flowers in circles, borrowed from Byzantine and Balkan manuscripts. In the XVII century Its bizarre plant patterns acquire a purely Russian character. Passion in the XVII century. Lush ornamental leads to the loss of artistic measures, especially when decorating items with precious stones and pearls, of which patterns previously performed from gold are composed. The same evolution experienced casting from non-ferrous metals - from Tsar-gun Andrei Chokhov to the bronze Song of Dmitry Sverchkov in the Moscow Assumption Cathedral and to the tin openwork casts to Kyotam XVII century. Even in iron products, there is a passion for the pattering of the shapes: forged lattices of the Moscow Church of George Neokezirei, the gates from the crossed iron in the Ryazan Assumption Cathedral, loops and door knobs of ordinary buildings.

In the monuments of threads on the bone of the XV century. Clear forms of "animal style" are visible in openwork ornament. In the "crucifix" of the XVI century. The Uglich historical and artistic museum has also affected the elongated-elegant proportions of Dionysius figures. In the XVII century The art of censors from Holmogor is valued high in Moscow, where they work, decorating their products with birds and beasts "in herbs". Especially good numerous straws with a large through floral ornament.

There are few large samples of the thread in the XIV-XVI centuries. Such is a sharp silhouette of the Ludogogan cross from Novgorod, decorated with a complex ornament and images of saints. More minor wooden products are preserved, among which the work of the Amvrosia masters is highlighted with the subtlety and beauty of the performance. In the XVI century Elements penetrate wooden threads eastern Art. The virtuoso small flat-tolerated openwork carving of the royal gates from the Church of John the Theologian on Ishne near Rostov, performed by the ink Isaiah. The throne of Ivan the Terrible with a tent and carved historical scenes and the saint seats of the XVI-XVII centuries. With a relatively fractional pattern, the architectural clarity of difficult concomplicated conclusions is distinguished. Sophisticated Yaroslavl openwork carving resembles a clarity of metal forms. From the middle of the XVII century. A number of Belarusian cutters led by Klim Mikhailov, who introduced Western European baroque forms to Moscow, comes to Moscow. Belorusskaya Rub has gained distribution in iconostastes affecting wealth and variety of details. Its forms were also used in the outer white-stone decor. If a variety of wooden buckets and dishes of the XVI-XVII centuries. They differed with soft plastic rounded shapes, shaved with a light geometric ornament, then large openwork vegetable motifs were used in the furniture. Geometric triangular-grade carving decorated strains, candle drawers, tables. Often, the furniture used forms borrowed from the architectural decor. Carved products often painted Pestro.

The painting was predominantly ornamental. For technique and character, she has long retained a connection with the icon painting. Apparently, in the XVI century. The "golden" painting of wooden dishes appears, known later as Khokhloma. The painting applies to walls, window glass, carved decor in the interior. Often ornamental shoots completely cover the surface of the items. These motifs have existed in Russian areas until recently. In the XVII century Furniture and dishes appear "Biatic Letter" - household scenes, fabulous creatures, etc.

Household ceramics XIV-XV centuries. Grust and primitive in shape. Only from the XVI century. Apply the "firing" and rugged. On the flasks of the XVII century. Geometric ornamentation appears, and then flat-elder images of figures. Many products reproduce metal forms, in ornamentation shows the effect of wooden thread. From the end of the XV century. Figure balusters and red terracotta tiles, decorated with palmettes, and sometimes covered with light-hidful icing are included in the facade decor. In the XVII century Made for decoration of buildings Green ties with embossed household and military scenes. From the middle of the XVII century. Belarusian masters performed multicolor tiles for the Cathedral of the Novo-Jerusalem Monastery in Istra.

Sewing had a lot in common with painting. The best sewing workshops were in the XVI century. Focused in Moscow at the royal court. From the workshop of Staritsky, two big plants came out, distinguished by the deep psychological characteristics of the characters and impeccable artistic technique.

Nabyliy XVI-XVII centuries. Along with geometric and vegetable motifs, ascending, perhaps, the eastern and western ornaments of imported silk fabrics are reproduced to the Domongolian samples. At the end of the XVII century. A three- and four-color audit appears. During the XIV-XVII centuries. There was highly developed patterned weaving, as evidenced by the passAll icon of "Zvenigorodsky Nine" Andrei Rublev. In the XVII century Gets the spread of zero lace with geometric mesh motifs or vegetable elements. Sometimes pearls are introduced into the patterns, silver plaques, colored drilled stone. Some XVII Patterns. lived in a filament linen lace until the XX century.

In the XIV-XVII centuries. Art in Russia developed under the great influence of the church. The architectural monuments prevail churches, in painting monuments - icons. There was also a strong influence of the Byzantine motives on the development of Russia in this period. Only part of the crafts are not affected by this effect on their own. The exit of Russian art from under the influence of the church began only at the end of the XVI - early XVII centuries, which gave a powerful impetus for development.

List of references:

1. The art of countries and peoples of the world. Artistic encyclopedia.

2. Gribushina N. G. "The history of world artistic culture."

3. Encyclopedic dictionary of the young artist.

4. Ilina T. V. "The History of Arts".

Mongol-Tatar invasion, the struggle against Lithuania and the speech of the compulculation inflicted a significant damage to ancient Russian culture. Many monuments of ancient architecture were destroyed, handicraft culture almost disappeared. Craftsmen have learned to do precious decorations, products from precious metals, the technique of making partitioning enamel was forgotten. From the beginning of the XIII and up to the middle of the XIV century, not a single significant stoneware was built. To the detriment of quality, construction technology from stone has been much simplified. The absence of stone structures has a negative effect on the development of fresco painting.

Mongolian period in culture (XIV-XV century)

Architecture develops. The center is becoming Moscow, Tver, Pskov and Novgorod. Mostly build temples and churches. A special Novgorod style is formed, based on painting, festivity and nationality. The best buildings created in this style Church of Fyodor Stratilate on the rouch and the church of the Savior in Ilyin in Novgorod. Moscow architectural style begins to form only in the second quarter of the XV century, finally folding only after liberation from the yoke.

The painting is developing. Write icons. In the iconography there is a Byzantine style. The Novgorod, Pskov, Moscow, Tver, Vologda and Rostov schools of painting are being created. In the second half of the XIV century, the icon painter Feofan Greek comes from Byzantium, the author of the fresco painting in the Novgorod Church of the Savior in Ilyin. Outstanding Moscow painters of this time are Andrei Rublev and Daniel Black, who signed the Assumption Cathedral in Vladimir, Trinity Cathedral in the Trinity-Sergiev Posade and the Spare Cathedral of Andronnikov Kremlin in Moscow. Andrei Rublev Author Icons "Trinity". For his work, he used biblical motifs, in particular, the myth of the trinity of God. The creation of the "Trinity" had a colossal impact on the further development of iconography. There were new icon painters, among them, Dionysius. The main theme of the Russian iconography of this period is to create the image of Our Lady. There are more than 800 types of icons associated with this subject.

Closer to the end of the XV century new genres appear in the literature, a public thought is developing. Mongolian IHO stood up the rise of patriotic mood. Patriotism is filled with poetic stories - "Zadonshchyna", "Tale of Mamaev Boy." The outstanding thinker of this period is Sergius Radonezh.

The flowering of the culture of Moscow Rus (XVI-XVII century)

The formation of Russian national self-consciousness occurs in the era of the heyday of the Moscow Kingdom. Exemption from Iga has become an impetus to the formation of communional culture. At the beginning of the XVI century, printed books appear. The first printed book "Apostle" printed by Ivan Fedorov in 1564. In 1574, the first Russian letterproof is published. For the first century, the work of the book printing machine in Russia is printed up to 20 books, mainly church.

In the literature of this period, one of the fundamental issues of the existence of the state is raised - the issue of origin, places and roles in the world. The famous "Tale of Princes Vladimir" is trying to explain the origin of Russian princes from the Roman Emperor of August and receiving Vladimir Monomakh Tsarist regalia from the hands of the emperor Konstantin. Pskov Older Filofee puts forward an idea of \u200b\u200bMoscow as the third Rome. Philofey believed that Rome, once the exoronic Christian world, has lost its position, Constantinople became the new center, the fall of which made it possible to become the center of all Orthodox Christianity - Moscow.

In the XVI century, a new development is obtained. Disputes arise about the device of the state, the status of the church, the position of individual public layers. A new genre appears in the literature - journalism. Of particular interest is the correspondence of Ivan the Terrible and Andrei Kurbsky. Confident in the divine origin of the royal power, Ivan Grozny is trying to convince his opponent in the right to judge not only for affairs, but also for thoughts.
The common cultural boom also affected the area of \u200b\u200barchitecture. The beautiful architectural ensemble of this period is the Moscow Kremlin, consisting of three magnificent temples: the five-chapter Assumption Cathedral (1475-1479), the three-chapter Annunciation Cathedral (1484-1489), the Arkhangelsk Cathedral (1505-1509).

Architect of the Assumption Cathedral was Aristotle Phioravanti. The structure was distinguished by the parade, severity and restraint of style. The Blagoveshchensky Cathedral was distinguished by the grace and sophistication, included the church of the county, was connected to the palace complex, which included the Granovic Chamber, built between 1487 and 1492, architects Marco Ruffo and Pietro Solyario. When creating the Arkhangelsk Cathedral, secular elements were used. The structure was used as a tomb of the Great Princes.

The Kremlin was surrounded by brick walls, over 2 kilometers long. 18 tower were also built, representing not only protective fortifications, but also the real work of architectural architecture. A new trend in architecture becomes a tent style that continued the traditions of Russian wood architecture. In the taper style, the Ascension Church in the village of Kolomensky (1530-1532) and the Cathedral of Basil Blessed (1555-1561) were performed.

Western European culture has an impact on Russian painting, artists are becoming increasingly preferred by secular scenes. At the beginning of the XVII century, there are two schools of painting in Russia: Godunovskaya and Stroganovskaya. Representatives of the Godunov school adhered to the traditions of the past, focusing on the Rublevo-Dionisievskaya Pressure Pressure Manru.

The Stroganov school focused on the creation of iconic miniatures with a thorough small letter, an intricate pattern and polychrome flavor, including silver and gold painted. A bright school representative is Simon Ushakov, one of the painters who participated in the gloves of the Arms Chamber.

During this period, fresco painting continues to develop and even appear first treatises about painting. Freed from external influence, the culture of the Moscow state entered the new course. Painters, architects and writers received great space for the realization of creative thought than ever before.

Culture of the ancient Slavs. Culture Kievan Rus. Culture of Russian lands.

1. Potir - Cup, a vessel for Christian worship, used in consecration of wine and accepting communion. Silver Pathrot (Cup) of Yuri Dolgoruky reached us.

2. speeches called in the old days teaching And in words, belong to the genre of eloquence.

3. Skan - Jewelry technology of Russian masters; The drawing was applied fine wire, soldered on a metal surface, and the gaps between the scanic partitions were filled with multi-colored enamel. So the high festive jewelry, made in the technique of the seducing enamel, typically Russian decorations.

4. Genre diversity old Russian literature XI-XII centuries. Nearby: Logging, Life and Word. The division of the works of the ancient Russian literature on the genres is quite conditionally. This is because the Eastern Slavic scribes themselves did not have uniform ideas about genre categories. The same, the most common term "word", Writers called the solemn speech of Metropolitan of Hilarion, and the military story.

5. At the heart of the literary language - alive colloquial Ancient Russia, more precisely - its regional dialects (southern and northern) - subnetry and Novgorod the Great. At the same time, in the process of its formation, a great role was played by a little related to him, although foreign on origin, language staroslavyansky or Church Slavonic. It is for this language that Kirill and Methodius were translated in the second half of the IX century. books Scripture. On its basis, a church writing was developed in Russia and worship was conducted. Being one of the dialects of Starobolgsky - Language, Church Slavic has possessed a large set of abstract concepts that became an integral ownership of Russian: "Space", "Eternity", "Mind", "Truth".

6. Theogony- Traditions about the origin of the gods; Always intertwined in the Old Slavonic cosmogonic myths, as well as in the myths of other ancient peoples.

7. The high-cost of the material is due to the savings of the letter: the text was submitted to one line without a word, often found words were reduced under titlas. Title - a diacritical sign (in linguistics - various foregrams, substitution, less often, intracting signs used in letters alphabetic and sludge systems are not as independent signs of sounds, but to change or clarify the values \u200b\u200bof other signs) in the form of a wavy or zigzag line used in Greek and Cyrillic graphics to reduce words and designations of numerical values; Currently persists only in Church Slavonic language.

8. Hand writing the XI-XIII centuries. In science is called charter By virtue of its clear, solemn character.

Culture of Russia 14-17 centuries.

1. A new system of brick overlaps is invented - a crusader, which made it possible to build small clear temples. In the architecture of these temples, secular elements were more clearly distinguished.

2. In the history of Russia in the XVII century. The Middle Ages period is completed. The advanced European countries have entered the path of bourgeois development, and Russia continued to remain a feudal country. Finally, serfdom (1649) was finally imposed, which led to a sharp aggravation of class struggle, peasant unrest. No wonder the XVII century. Call rebellious.

3. In the literature of the XVII century. It also occurred, realistic appears household I. historical story where church elements are gradually lost. The heroes are not saints, but ordinary people, are described by real events. The historical stories appeared about the conquest of Siberia Ermacom, about the Azov siege sitting of the Cossacks, etc.

4. At the beginning of the century, Russia survived and years Great Smoywho began a campaign to Moscow Lhadmitria. Moscow capture by Poles, and then liberation by the folk militia under the guidance of the Nizhny Novgorod merchant goat of Minin and Prince Dmitry Pozharsky, the election of the Russian king Mikhail Romanova and the restoration state power In the form of a data and representative monarchy led to the restructuring of public relations. Troubled time - the designation of the Russian history period from 1598 to 1613 marked by natural disasters, the Polish-Swedish intervention (military, political or economic intervention of one or several states into the internal affairs of another country, which violates its sovereignty), the hardest political, economic, state and social crisis.

5. Gulbishche - Terrace or gallery surrounding the building around the perimeter over the ceiling overlap, the characteristic element of Russian architecture.

7. Genre became new in Russian literature democratic satire. IN satirical works The orders of the feudal court with its hook, fiber, the sale of judges. This is a satirical story "On Shemyakina Court" and "On the Yersh, Hemshovich - Son Shchetnikov", written by the household folk language.

8. Warred pattern - This term reflects the addiction to the abundance of decorative motifs, up to the borrowing of the eastern, and later - Western forms.

9. At the end of the 17th century, the formation of the Russian nation begins. Folk traditions are summarized, the relationship between local customs is increasing. The growth of connections between the individual regions of Russia through trade, the seam, resettlement, participation in wars, etc. They contribute to the interpenetration of various dialects, there is a single Russian language, which is based on the dialect of Moscow and adjacent to it from the south of land. Creature unified Russian language Even more contributed to the growth of the self-consciousness of people as a single Russian nation.

Culture of Russia XIVXVI centuries

Main trends

Mongol-Tatar invasion caused serious damage to Russian
culture, but cultural traditions Old Russian culture not
interrupted
From the second half of the XIV century - the cultural revival of Russia
Leading in all lands, in all works of CNT,
Literature, painting, architectures are becoming ideas of unity
Russian Earth and Combating Horde Master
Revival of a single Russian culture with the center in Moscow, in
connection with this incredibly increasing the importance of Moscow as
Chief Cultural Center
Russian culture - multinational basis
It is during this period that the formation of distinctive
Russian culture and departure from Byzantine traditions
The emergence of cultural contacts with other countries, in
particular with Italy

Education

Changes in the technique of letters

In the XIV century, the paper began to import paper that became
replace bark and expensive parchment, books
They began to be cheaper
Changes in the technique of letters: the charter comes to replace
semi-keeping
Tired
Semi-keeping

Dissemination of literacy

Book School Centers - Monasteries,
which were book-painted workshops and
Libraries. Some princes also had
His books workshops
1551 - on the stamp cathedral - the decision to open in
Russia School in churches and monasteries for
wide teaching children literacy (ability
read and write)

The emergence of typography

The largest event of the middle of the XIV century - the emergence
Russian typography
1553 - the appearance of the first typography in Moscow
1564 - Edition of the first printed book "Apostle"
(often it is this date indicated as the beginning
typography).
1565 - Publishing of the book "Chairchilkolotsky" - for training
Dick
The first books were published Ivan Fedorov and
Peter Mstislavts
However, soon due to religious accusations,
The first primers were forced to move to the Great
Principality Lithuanian. It was in Lviv was printed
The first Russian letterproof with grammar.

Typography

Pook printing continues
develop in Russia
However, very long
Time printed book
existed parallel to S.
handwritten
Printed mainly
liturgical literature, and
Chronicles, Tale and Taken
continued to correspond
by hand
Pook printing had
Huge enlightenment
Value: Printed Book
was cheaper, and therefore
more affordable for people
First Print Ivan Fedorov

Folklore

Main trends

XIV-XVI centuries. - The heyday of the heroic epic epic.
Return to the traditions of ancient Russia.
Favorite hero - Vladimir Red Sunny
Novgorod epics become popular with their
Main heroes merchant Vasily Buslaevich and rich
Guest Sadko
A new genre of CNT appears - historical songs, heroes
whom - simple peoplewho committed feats in the fight against
conquerors.
The most famous of them - the song about Avdier Ryazanchka
- freed from the captivity of the inhabitants of Ryazan and the song about Clichen
Dudensevich, about the Khan Baskaka Cholhan, against which
There was a rebellion in Tver in 1327
Many songs were devoted to the capture of Kazan Ivan IV
A whole cycle of epic songs was devoted to accession.
Siberia and his hero Ermak

10. Literature of the XIV-XV centuries.

11. Main features

The central theme was the fight against the Ordane
Lydia
One of the common genres became
military story, which was based on
Specific historical events and facts, and
the characters were real people
Revival of the chronicles

12. The Tale of Ryazan Batym

It tells about taking
Ancient city in Batym in 1237
year and about tragic fate
Princely family. Besides, in
This work
Describes the feat of Ryazansky
The hero of Evpathy Kolovrat.
The earliest versions of the story
refer to the XIV century.
The earliest story
Contained in Ipatievsky
Chronicles. In addition, the same
The story is also contained in
Lavrentievskaya and B.
Novgorod chronicles
Tale of Ryazan
Battle. Miniature. Facial
Arch XVI century

13. "Zadonchina" Sophonia Ryazan

Monument to Old Russian
Kulikovskaya battle
Literature end XIV -
The beginning of the XV centuries. Talks O.
victory of Russian troops,
Headed by Grand Duke
Moscow Dmitry.
Ivanovich (Donskoy) and his
cousin
Vladimir Andreevich
Serpukhovsky, over Mongolottar
The troops of the ruler Golden
Horde Maama.
Many artistic techniques
"Zadonshchina" echo
"The word about Igor's regiment"
Author - Ryazan boyar -
emphasizes a special role
Moscow in achieving victory

14. Tale of Mamaev Bottling (XV century)

In the "tale" narrates
Heavenly visions foreshadowed
victory of the Russian people on
Kulikovsky battle is given
Many interesting details
This event. Along with historic
reliable facts (route
Movement of Russian troops from
Moscow through Kolomna on Kulikovo
field, transfer of princes and the governor,
participating in the battle, story about
Actions of an appeal regiment, etc.)
contains some legendary
Episodes.
The author of the legend was under
great influence "word about the shelf
Igor "and" Zadonshchina "
"Tale" reached us in the big
The number of lists. Some of them
have a very late date - the end
XVIII-beginning of the XIX century, which says
About huge popularity
Works in Russia.
Miniature from the Tale of Mamaev
Battle. 17th century.

15. "Going for the Three Seas" Athanasius Nikitina

Tver merchant Athanasius
Monument to Athanasia Nikitin in
Tver
Nikitin in 1466
Went with trade
Goals for the North Caucasus
The infancy of fate
led to this
The trip resulted in
Perennial journey
East - Iran, India.
In India, he lived three
years, with deep attention
Studying a local language
Culture, religion and life.
Observation of I.
Reflections Russian
The merchant was the book
"Going in three seas"

16. Journey Athanasius Nikitina

Three Sea, "For which
Went "Athanasius Nikitin
This is Caspian
(Derbent), Arabian
(Humped) and black
(Istanbul)
Being far from homeland
A merchant prays of God: "Yes
Save the god of the land Russian!
God, save her! In the world
No similar land ... "
Athanasius Nikitin is very
worried about her fate "But
why the princes of the land of Russian
do not live with each other as
Brothers! Yes, land will be arranged
Russian!"

17. The revival of the chronicles

In the XV century, the communional christmas school is reborn
The first communional chronicle - Troitskaya - compiled in
Moscow at the beginning of the XV century. Moscow chronicles were held
Great work on unification and processing
scattered local chronicles.
One of the most significant works of Russian
The chronicles became the Moscow chronicle of 1479.
All Moscow chronicles permeates the thought of
the need for unity and strong grand mining
authorities. They consistently conducted the idea that
Moscow is the heiress and the successor of Kiev
political traditions. And to emphasize this brighter
idea, Moscow chronicles started with
"Tale of Bygone Years."

18. Literature of the XVI century

19. Main features

Literature more and more attention pays
the problem of fastening grand mining power, and
then the royal power
The appearance of a new genre - journalism
Special place in the medieval literature occupied
Chronographs - appeared from the second half of XV
in. who were attempted to systematize
Historical information. To data learned
from the Byzantine chronicists, joined
Pretty fragmentary information
about Bulgarian and Serbian history and
Russian news entered; in later
Editors are noticeable borrowing from Polish
chronicle

20. "Tale of the princes of Vladimir"

The basis of this work lay two legends.
One of them argued that Moscow sizes
lead their origin from the Roman emperor
August (from his brother named Pruss, which was
Relative to Rüric).
In the other described like Byzantine
Emperor Konstantin Monomakh handed over to Kiev
Prince Vladimir Vsevolodovich Tsarist regalia,
Which Vladimir was allegedly married to the kingdom.
From here there was a successor Vladimir
Monomakh had legal right to the royal title
These legends justified the right of Moscow princes
on autocratic power

21. Publicistics

One of the most
famous publicists
Was Ivan Semenovich
Perestelov. In their
petitions
Addressed Ivan.
Grozny, ON.
Suggested projects
Reforms strengthening
Autocratic power
king based on
nobility
Miniature from the facial arch 16th century.

22. Correspondence of Andrei Kurbsky and Ivan the Terrible

It came from Prince
kind, entered the selected
Rada. Taken
Active participation in
Take Kazan in 1552.
Acting, according to him, from
Concerns "Unlightened"
Opal Ivan IV fled to
Lithuania (1564); member
We are glad to speech together.
Participated in the war against
Russia making it
Traitor for any
The reason for flight.
P. V. Rygeko. Andrei Kurbsky

23. Correspondence Andrei Kurbsky and Ivan the Terrible

The main issues in their correspondence were questions.
about the nature of the royal power and its relationship with
subject
The views of A. M. Kurbsky outlined in "Stories about
Great Knince Moscow "and Epistle Ivan
Grozny.
A. M. Karbsky considered the best version of the state.
authorities such a form when the monarch rules together with
elective body representing all layers
Population
Ivan IV in return messages defended the idea
Divine origin autocratic
authorities and its unlimited character

24. Chronograph (1st Ed. - 1512)

"Chronograph" - a collection of interesting and
moral essays on the world
stories
The author of this collection is unknown, but it was
very educated person who had
Presentation of the progress of world history
Much attention "Chronograph" pays
Slavic peoples, and above all Russian.
He considers Russian history as part
World History

25. Great Chetty Mini

Cheti - Books,
Defined for reading, and
Not for worship. Minei -
last month.
Great Chetty Mini - Collection
XVI in. from 12 books for each
Month of year, including
The life of the saints for every day.
Great Chetty Mini were
Describe under the leadership
Metropolitan Makaria
Cheti Minei have absorbed and
grouped all books,
Read in Russia. They become
a kind of churchly pattern encyclopedia
Russian medieval
Society
Icon "Minei for the year" (calendar for a year)

26. "Domostroy"

Amounted to "Domostroy",
Andrei Ryabushkin. Merchant
Family 17th century
or in any case
edited
Priest Sylvester
"Domostroy" contained
Guidance instructions
household
raising children
execution in the family
religious rites.
One of the main ideas
"Domostroja" were the idea
Subordination in the state
royal power, and in the family
her chapter

27. Architecture of the XIV-XVI centuries.

Moscow Kremlin under Ivan III. Vasnetsov A. M.

28. Moscow

In the second quarter of the XIV century, stone construction begins
With Ivan Kalita, 4 stone temple are built: Assumption and
Arkhangelsky Cathedrals, Churches of John Dolviches and Savior on Bor
(All temples are rebuilt, in its original form are not preserved).
Evidence of increasing the political power of Moscow
Construction in 1367 Fortress - Blondeamy Kremlin (with Dmitry
Donom)
The formation of a single state put Moscow to special
position - it turned into the capital of the Russian state, in it
The residence of the Grand Duke All Rus - becomes
The center of Russian architecture
With Ivan III - the Moscow Kremlin was radically rebuilt. Were
The best masters from all over Russia are invited, foreigners from
Italy (Aristotle Phioravanti, Marco Ruffo, Pietro
Antonio Solari).
Moscow Kremlin, created as a major residence of Russian
Great Princes, became a symbol of their power, evidence of success
Moscow princes in the collection of Russian lands, liberation from
Order of Ordane

29. Aristotle Fiorevanti

Surname Phioravanti - literally
Coin, alleged
Founded by Aristotle
Phiorevanti
translated like a flower striking
Wind
Aristotle Phiorevanti 0 Italian
Architect, engineer
Ivan III - urgently searched for a talented
architect since in 1474 in Moscow
collapsed new one, only a complete
Assumption Cathedral.
Under the direction of A.F. Russian masters
folded from brick walls and towers
Moscow Kremlin, Assumption and
Arkhangelsk Cathedrals, Bell Tower
Ivan the Great
A. F. Built the first in Russia
brick factory built plant by
Casting guns

30. Assumption Cathedral in the Moscow Kremlin (15th Century)

Outstanding creation
Aristotle Fiorevanti
- Assumption Cathedral.
Ivan III dreamed of
creating yourself
An impressive cathedral
In Russia.
For the sample was taken
Assumption Cathedral V.
Vladimir
Construction in 14751479.

31. Granovic Chamber of the Moscow Kremlin

Built by decree Ivan III
in 1487 - 1491 architects
Marco Ruffo and Pietro
Antonio Solary
1487- 1491.
Outside the chamber was laid out
White faceted stones, from
which got their name
Designed for
Solemn techniques I.
Celebration

32. The architecture of the Moscow state in the XVI century

The further development of the Russian state affected
Development of Russian culture. From all over the country to Moscow
The best masters moved
There are special issues dealing with issues
architectural appearance of the capital - city order, order
Stone cases.
Moscow becomes the center of Russian architecture. Here
New architectural styles and directions appear
The appearance of the Moscow Kremlin changes: with his
territories were brought almost all the boyars estates,
Craftsmen and merchants are evaluated. Appear
diplomatic missions of foreign states, and
also state. institutions - printed and ambassadors,
Buildings of orders are built
New - tent style

33. Tent style

In russian wooden
Resurrection Church,
Suzdal (18 century)
architecture tent - was
Common
Form of completion
wooden churches (with
Construction of churches from
Tree Extremely
It is difficult to convey the form
domes)
Stone tents
Temples appeared in Russia
At the beginning of the XVI century and not
have analogies B.
architecture of other countries

34. Church of Ascension in Kolomensky (1532)

C. Ascension B.
Kolomna -
Outstanding monument
Tent architecture
First stone
Tent Temple B.
Russia
Erected in 1532 in
Honor of Birth of U.
Vasily III
long-awaited
Heir - Future
Ivan Grozny
Church of Ascension in the village
Kolomna

35. Cathedral of Basil Blessed (1555-1560)

Top of Russian architecture
of this period - Pokrovsky
Cathedral built in
Immediately near
Kremlin
He is called the Cathedral of Vasily
Blissful by name
famous oborudy,
buried at his walls
Temple built Russian masters
Barm and Postnik.
Temple Idea: Like Moscow
combined around them
land and huge
Central temple tent
unites in a single whole
Colorful variety of eight
Separate heads

36. Novgorod

37. Main features

In the XIV century one of the centers of stone
The construction becomes Novgorod
Waste from strict simple formsI replace them
Easy, elegacity and solemnity come.
Classic samples of such a Novgorod style -
Church of Fyodor Stratilate and Savior Church
Transfiguration on Ilyina Street.
Large construction was carried out in the XV century. In 1433.
German and Novgorod masters were
Built the grain chamber in Novgorod for
Solemn receptions and meetings of the Council of the Lord

38. Church of Fyodor Pratilate Church of the Savior Transfiguration on the Creek on Ilyin Street

Fedor Pratilate Church
on the crime
Church of the Transfiguration
On Ilyina Street

39. Pskov.

40. Main features

Pskov by the middle of the XIV century finally
Added from Novgorod
Great importance here was the defense
architecture, since the Pskov earth was
On the outskirts of Russia
In 1330, close to the city was built
Fortress Izborsk
In Pskov itself, a large stone was erected
Kremlin
The whole architecture of Pskov had a fortress appearance,
The buildings were harshs and concise

41. Islator Fortress (1330)

The elevation fortress became one of
The largest military facilities
Rus
Islator Fortress and Nikolskaya
church

42. Painting

43. Painting of the XIV century

XIV century - the beginning of the heyday of Russian painting
A great contribution was made by Feofan Greek
At the end of this century in Russian churches as distinctive
Cultural phenomenon began to appear iconostasis
(Byzantine culture did not know such large
iconostasis)
Iconostasis - partition separating the altar (part
Temple designed for clergy) from
The rest of the room
Icons on the iconostasa were strict. IN
The bottom row was placed the icon of the Holy or Holiday, in
whose honor was erected by the Church. Next followed
A series of icons, in the center of which was depicted by Christ, and
both parties in prayer postures - the Virgin,
John the Forerunner, as well as the apostles, archangels and saint

44. Feofan Greek

Faofan Greek - arrived at
Savded an almighty or pantokrator.
Fresco in the Novgorod Church of the Savior
Transfiguration on Ilyin Street
Rus from Byzantium, being
Already known
painter.
He is safe
experimented by S.
gamma, knew how to write
saints figures that they
looked not frozen
in a certain pose, and how
Would in motion
Chief creation
Faofan Greek became
Creating iconostasis
Blagoveshchensky
Cathedral

45. Painting XV-XVI centuries.

At the end of the XV - the beginning of the XVI century in Moscow develops
National School of Painting.
The most prominent representative was ingenious
Russian artist Andrei Rublev
In his work, the process of separating Russian painting from
Byzantine gets its logical conclusion
Rublev and his followers finally refused
Byzantine severity and asceticism.
Another major representative of the Moscow School
painting was a noble prince who became a monk
Dionysia
During the reign of Ivan the Terrible, more and more
Religious life included stresses reflecting
Real historical events

46. \u200b\u200bAndrei Rublev

Andrei Rubeov was a monk
Trinity Sergiev
monastery and then spasoperonnikova monastery
In 1405, together with Feofan
Greek and Prokhorom from
The town painted the walls
Blagoveshchensky Cathedral V.
Vladimir and then Cathedral
Trinity Sergiev
Monastery
In his works he
Created images of alive
people passed sincere
Experience and mood
Russian man of Togo
of time
Trinity. The most famous work of A.
Rubleva. Written for iconostasis
Trinity Cathedral

47. Andrei Rublev

Saved. Zvenigorodsky
Chin.
Chin - in Iconostasa -
One row icons
Savior - epithet,
attributed
Jesus Christ, from
"Savior"

48. Dionysia

Dionysius is the largest
Representative of Moscow
School painting end XV -
early XVI
Considered a successor
Traditions Andrei Rublev
Posted part of icons and frescoes
Assumption Cathedral
Moscow Kremlin
Dionusian work differed
sophisticated pattern
exquisite and gentle color
On the right is the icon
Saint Metropolitan Alexy with
Life written for
Assumption Cathedral
Moscow Kremlin

49. Dionysia

Perhaps the most
famous
Work
Dionysius were
murals on the walls
Christmas
Ferrapontov Cathedral
Monastery
Cathedral of the Nativity of the Virgin.
Stenopenis Dionysius 1502.
St. Nicholas Wonderworker

50. Epoch Ivan Grozny

During the reign of Ivan the Terrible, more and more often in religious
Painting included plots reflecting real historical
events
In the middle of the XVI century. In Moscow was written huge, 4 meters long,
Icon-picture "Militant Church" dedicated to
Kazan
It shows a solemn procession of victorious Russian
Troops led by Ivan IV. Among the warriors Prince Vladimir
Svyatoslavich with sons Boris Gleb, Alexander Nevsky,
Dmitry Donskoy and other famous princes of Warriors. Ahead
Archangel Mikhail flies on the winning horse. In the center of Figu
Byzantine emperor Constantine with a cross in hand. Army
Meets the Mother of God with a baby.
It is quite obvious the idea of \u200b\u200bthe work - to interpret military success
as a result of the patronage of heavenly forces, and the feat of Russian warriors
As a victory of Orthodoxy over "Invalid Basurmans"

Russian culture XIV – XVII centuries

Cultural development Ancient Russia, which has accumulated extensive experience in the construction and improvement of cities that created the wonderful monuments of architecture, frescoes, mosaics, icon painting, was interrupted by the Mongol-Tatar invasion, which led the state to economic and cultural decline. The revival of Russian culture was only possible at the endXIII - NCH. XIV explosive The center of the struggle against the Mongol-Tatar yoke was Moscow, gradually turning into political and cultural Center Russian lands.

Formation to an endXV Centralized Russian states put forward the task of widely deploy the construction of fortress structures in cities and monasteries, and in its capital - Moscow - to build temples and palaces that meet its meaning (before the Mongols prohibited stone construction, fearing the construction of defensive structures). For this purpose, architects from other Russian cities were invited to the capital, as well as Italian architects and engineers (one of the outstanding Italian architects who worked in Russia was Aristotle Phioravanti, which built the Assumption Cathedral and the Granovitu Chamber of the Kremlin). Moscow Kremlin, which accommodate the residence of the Grand Duke, Metropolitan, Cathedrals, Boyars, Monasteries, was in the second halfXV in. Extended to current sizes. In the east of the Kremlin, the Red Square arose, and he himself was surrounded by a white stone wall (later the white brick was replaced with red).

New tasks of state-building directly affected the literature. Ancient Russian writing fully fixed the change in the folk consciousness, embodied in the desire of the National Association. Numerous editions of the Agea of \u200b\u200bthe Kulikovsky Battle ("The Tale of Mamaev Battle", "The Word of the Zadonshchina" and others) represent it as a nationwide feat. In many subsequent literary sources Prince Dmitry Donskoy appears in the image national HeroAnd his heirs, Moscow Princes - as national sovereigns. I did not remain aside and ideology. Its task was to search for new ideological forms of state-building.

The definition of the spiritual development vector was concretized with a fall, under the Natius of the Turks, the Byzantine Empire. Rus, the most powerful country in the Orthodox world, began to strive for the main position among other Orthodox states, turning into the outpost (Orthodox) church. While the Turks destroyed all the Orthodox monarchies of the East and captured all the patriarchy, Moscow took care of keeping and maintaining Orthodoxy and at home and in all east. The Moscow Prince became now the head of the entire Orthodox world (especially after Ivan's marriageIII On the heir of the last Byzantine emperor Sophie Paleologist). Pskov Monk ("Stameth") Philofee developed the theoretical substantiation of such aspirations, expressed in the formula "Moscow - Third Rome": "Yako two Rome Padosha, and the third (Moscow) stands, and the fourth is not life." This installation has led the Moscow authority to the determination to make the Moscow principality "Kingdom" through the official adoption of the Grand Duke of Titula "Caesar" - in our interpretation of the "king", to accept the coat of arms of the Roman and Byzantine Empires (double-headed eagle).

Already in the first decades after the Mongol-Tatar invasion, painting is reborn. The centers of its new development are Novgorod, Rostov, Tver. Novgorod and Pskov school special attention was paid to the fresco painting. One of the brightest representatives of this area was theofan Greek. His images embodying ascetic religious ideals are distinguished by psychological tensions, technique of writing - the dynamics and originality of the techniques, flavor the limit restraint.

By the end of the XIV - early XV explosive Increased artistic role of Moscow. Here the Feofan Greek, Andrei Rublev, Daniel Black. The school created by Feofan in Moscow stimulated the development of local masters developed, however, other than the Faofan style. In 1408, Andrei Rublev and Daniel Black performed a new painting of the Assumption Cathedral in Vladimir. These frescoes in traditional iconographic images reveal the deep spiritual world and the thought of contemporaries. Enlightened benevolent individuals of the apostles leading to the people, soft, harmonious tones of painting, are permeated with a sense of peace. Rublev had a rare gift to embody the bright parties to the life and mental state of a person in art. In his work on replacing the inner confusion of the ascetic abnormality of the images of Feofan, the beauty of mental equilibrium and the strength of the conscious moral rightness come. The works of Rublev, being the top of the Moscow School of Painting, express ideas of a wider, nationwide. In a wonderful Icon "Trinity", written for the Cathedral of the Trinity-Sergius Monastery, Rublev created images, far reacted by the narrow framework developed by the Bogoslovsky plot, embodying the ideas of love and spiritual unity. In the last thirdXV in. Begins his artistic activities of Dionysius. In icons and frescoes, Dionysius and his schools increase some uniformity of techniques, the attention of masters to artistic form, features of festibility and decorativeness. The works of Dionusia are solemn and graceful, but in the psychological plan is inferior to Rublev.

The revival of decorative and applied art was slower. This was due to the fact that many masters were pregnant and a number of craft skills were lost. But gradually Russian jewelry art is also animated. Chakeanka, finifesty, painting on the ground enamel, casting and other techniques were mainly focused on a vegetable and animal ornament, performed in patterned oriental style. Excessive hobby of the ornament, toXVII in. led to the loss of artistic measures, especially when decorating objects precious stones And the pearls, of which the patterns were made before the made of gold. Even in iron products, there is a passion for the patterns of forms (for example, the king-gun Andrei Chokhov). In the monuments of threads on the bone and the tree, vegetable and animal motives also prevailed. In addition, carved products often painted the Pestro. Sewing also had a lot in common with painting. INXVII in. In Russia, zero lace with geometric mesh motifs, or with vegetable elements, is spreading. Sometimes pearls were introduced into the patterns, silver plaques, colored drilled stone.

Polish-Swedish intervention of the beginningXVII in. Developed the development of art, but by the middle of the century, artistic creativity was noticeably revived. During this period, a new genre appears in Russian art - a portrait. The first portraits were written back in icon-painted traditions, but gradually the techniques of Western European painting appear in them - the exact image of the damn face and the volume of the figure. The expansion of the areas of culture associated with the technical achievements of that time was also reflected in this direction as a book publishing.

Traditionally, the books wrote on Russia from hand. At the same time, the text was decorated with an ornament, is found in rich (often with gold and precious stones) cover. But beauty did not always compensate for the shortcomings of handwritten books, first of all - the duration of writing and errors appearing in repeatedly rewriting texts. The Church Cathedral of 1551 was forced to even develop a resolution to avoid rewriting books with distorted text. The needs of the correction and unification of church texts, not least influenced the opening of the first printed workshop in Moscow. Her founders were Dyack Ivan Fedorov and Peter Mstislavs. For 12 years of existence of a printing house (from 1553 to 1565), it was printed in it 8 big books Not only religious, but also secular character (for example, a chairman who became the first alphabet).

However, typography at that time did not receive proper development, as well as many other areas of art and science characteristic of European culture. The reason for this lies in the desire for a kind of separation of Russian culture, especially manifested inXVI century. An explanation of these conservative trends should be seen primarily in the history of the formation of a Moscow state, which was continuously subjected to external aggression both from the West and from the East. Cultural identity in critical periods of Russian history has become hardly the only saving-unifying factor. Over time, the cultivation of its own traditional culture took hypertrophied forms and rather prevented its development, closing the possibility of penetrating the achievements of art and science of other countries to Russia. The obvious lag (primarily in the scientific and technical sphere) was overcome only by PeterI. , moreover, decisive and ambiguous way.