Naryshkin Baroque buildings. The style of Russian churches is Naryksha Baroque

In Moscow, under the conventional term "Naryshkin Baroque" at the turn of the 17th - 18th centuries, an ephemeral, but full of grace style emerged - a soon withered bizarre flower. The style is folk and original. Baroque decorative lace contributed to his life-affirming spirit. The rounded volumes of Naryshkin churches have nothing to do with the curvilinearity of Baroque masses and spaces in the architecture of Western and Central Europe. In Moscow, under the conventional term "Naryshkin Baroque" at the turn of the 17th - 18th centuries, an ephemeral, but full of grace style emerged - a soon withered bizarre flower.

The style is folk and original. Baroque decorative lace contributed to his life-affirming spirit. The rounded volumes of Naryshkin churches have nothing to do with the curvilinearity of Baroque masses and spaces in the architecture of Western and Central Europe. Based on the active interaction of elements of Western European stylistics with the fundamentals of Russian creative consciousness Moscow architecture, transforming, clearly dominates, remaining (but not in St. Petersburg under construction) a typically national phenomenon. There is a predominance of Russian tastes and traditions in the polychrome and diversity of even sacred buildings. More for a long time Moscow will preserve the traditions of the ancient Russian architectural genius.

The Russian land, having adopted the features of the European Baroque, creates its own unique architectural style - the so-called “Moscow” or “Naryshkin” Baroque. For the first time, churches in this style appeared in the estates of the Naryshkins, the closest relatives of Peter I on the maternal side.

There are no close parallels to this style in either earlier Old Russian or Western European architecture. It organically merged the features of Moscow architecture, which, first of all, was alien to the overload of lush volumetric stucco molding and sculpture of the Western Baroque. On the contrary, there was a desire for openwork lightness of buildings. At the same time, the passion in architecture for the upward-moving masses and the eloquence of the silhouette was not diminished in any way. Naryshkino Baroque is, above all, a contrast of two tones: a red brick background and a white stone pattern. Such monuments are characterized by oval or polygonal, that is, polygonal windows.

Instead of the clarity and conciseness of pre-Petrine architecture, the estate churches of the Naryshkin Baroque demonstrate the complexity of the plan and increased decorativeness. This is revealed in the baroque solemnity of painted, high-relief wood carvings and gilded boxes, iconostases, and pulpits.

The layout of the buildings is deeply felt. Most often, manor churches rise on high, steep river banks. In those days, tiered towers with dazzlingly shining domes could be seen tens of kilometers away, immediately attracting attention among the vast expanses of forests and fields. Now many of them have entered the boundaries of Moscow.

The heyday of the Naryshkin, or Moscow, baroque occurred in the 1690s and the very beginning of the 18th century. These same years - best time Bukhvostov's creativity. The creator of a new style in Russian architecture had extensive knowledge of a practical architect, was a capable organizer and at the same time had a whimsical imagination. Full of innovative ideas, the serf master carried out orders from noble nobles and associates of Peter within the Moscow and Ryazan estates. Archival documents indicate that the outstanding architect not only headed the construction team, but also delved into all the details during construction. Brilliant intuition allowed the master to build, most likely, “by eye”; the drawings could be replaced by simple sketches or sketches of ornamental motifs. And it is doubtful whether he was literate: on all surviving documents, someone else “had a hand” for Yakov.

Bukhvostov's life is the continuous construction of monumental structures, many miles apart from each other. Difficult fate the creation of the wonderful Church of the Savior in the village of Ubory did not affect its rare beauty, born of inspiration. Once upon a time there were solid pine forests(hence the name of the village - “At the Bor”), the Uborka River flowed into the Moscow River, and along old road From Moscow to Zvenigorod, the Muscovite kings went on pilgrimage to the Savvin Monastery. In the 17th century, these lands were owned by the Sheremetev boyars. On behalf of P.V. Sheremetev Bukhvostov took up the construction stone temple on his estate, but soon switched to the construction of the Assumption Cathedral in Ryazan. An angry boyar imprisoned the master for the unfinished church in Ubory. The clerks of the Order of Stone Works sentenced the architect to “beat him mercilessly with a whip,” and then “to finish the stone work for him.” However, as if sensing his imminent death and fearing for the fate of the building, Sheremetev submitted a petition to the Tsar asking him to cancel the punishment.

The completed church in Ubory (it was built in 1694-1697) became one of the masterpieces ancient Russian architecture. Like the church in Fili, it has a stepped pyramidal structure: three octagons rise up in tiers on a quadruple cube. On all sides the cube was obscured by semicircles of the altar and vestibules, which previously ended with domes. Bells were hung in the middle through eight. The building was surrounded by an open gallery-promenade, decorated with white stone vases and panels with lush floral patterns.

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

From the time of its construction, it amazed everyone who came with its splendor, festivity, and instilled an unearthly feeling of joy. Raised to the top of a gentle hill, surrounded by a circle of slender birches and pines, the monument reigned over the area.

But one of Bukhvostov’s most striking works was the church in the village of Troitsky-Lykovo, standing on the steep right bank of the Moscow River, opposite Serebryany Bor(1698-1703). The authorship of Jacob is indicated by an entry in the synod of the church. In the three-part Trinity Church, the architect resorts to exquisite proportions and carefully crafted exterior and interior decoration. Fine ornamental carving reaches its climax. One of the modern scientists compared the temple to a jewel strewn with beads, covered with gold threads, sparkling and shimmering in the rays of the sun. There are not three, but two porches built here, topped with domes on octagonal bases.

At the end of the 17th - beginning of the 18th century, Naryshkin baroque found many admirers. Centric, or tripartite, churches are built in Moscow, near Kolomna, in Nizhny Novgorod, near Serpukhov, near Ryazan. Their hallmark There is a white stone decor, but already heavily Russified. Pediments and platbands are framed with volutes - architectural details in the form of curls, spiral columns are placed on brackets or console brackets extended from the wall. Decorative motifs are striking in their variety: “torn pediments”, shells and cartouches (decorations in the form of a shield or half-unfolded scroll), mascarons and herms, balustrades with vases... Baroque creates new and unexpected compositions from these ornamental oddities. Realistically rendered grape vines, flowers and fruits are woven into luxurious garlands and bouquets, as if saturated with vital juices. Another favorite ornament is the most complex interlacing of intricately torn cartouches with comb-like rollers along the edges of the curls and convex pearl grains arranged in rows.

In the 90s of the 17th century, stone (limestone) carving became one of the main elements of monumental art. decorative arts. The craftsmen learned to masterfully use the light-and-shadow and plastic effects of carved white stone. This was done by specially invited artels: after finishing the finishing of one building, they entered into a new contract and moved on to another customer.

Naryshkin Baroque is absolutely original, unique national- Russian phenomenon. It is complex in nature and has no analogues among world architectural styles. "Naryshkinsky buildings" are perhaps the most striking phenomenon of Russian architecture of the late 17th - early XVIII century. In their festive, cheerfully enlightened appearance one can see both the solemn pomp and the “secular” religious concept of Peter the Great’s time. Looking at such structures, you feel a certain fragility, the transparent disembodiment of these amazing monuments.

Naryshkino or Moscow baroque is a conventional name for a specific style direction in Russian architecture of the late XVII - early XVIII centuries, initial stage in the development of Russian Baroque architecture. The architectural movement owes its name to the young, Western-European-oriented boyar family of the Naryshkins, on whose Moscow and Moscow estates churches were built with some elements of the Baroque style, which was new to Russia at that time.

The main significance of the Naryshkin style is that it became the link between the architecture of old patriarchal Moscow and the new style (Petrine Baroque) of St. Petersburg, built in the Western European spirit. The Golitsyn style, which existed simultaneously with the Naryshkin style and was closer to the Western European baroque (the buildings erected in it are sometimes classified as the Naryshkin style or the generalized concept of “Moscow baroque” is used for them) turned out to be only an episode in the history of Russian baroque and could not play a similar role important role in the history of Russian architecture.

conditional by the name of the customers, a direction in Russian architecture of the late 17th - early 18th centuries. Secular, elegant, multi-tiered buildings, the decoration of which is characterized by a combination of red and white flowers, use in decoration as decorative ornaments shells, columns, capitals and other elements of the order. The most famous buildings: the Church of the Intercession in Fili, the refectory, the bell tower, the gate churches and the crown decorations on the towers Novodevichy Convent in Moscow, churches and palaces in Sergiev Posad, Zvenigorod, Nizhny Novgorod, etc.

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NARYSHKIN BAROQUE

Moscow Baroque), the conventional name for the style of Russian architecture. 17 – beginning 18th century The most characteristic buildings of this style were erected in the Moscow and Moscow region estates of the Naryshkin boyars (the Church of the Intercession of the Virgin in Fili, 1690–93; the Trinity Church in Troitsky-Lykovo, 1698–1704, and the Church of the Savior in the village of Ubory, 1694–97; both - architect Ya G. Bukhvostov). The Naryshkin Baroque combined the traditions of ancient Russian white stone patterns and new trends borrowed from Western European architecture. Buildings of this style are characterized by elegance, decorativeness, social cheerfulness, and a major color scheme - a contrasting combination of red walls and white carved details. In the buildings of the Naryshkin Baroque, elements of the order began to be widely used (decorative pediments, half-columns, pilasters, arches), as well as decorations in the form of shells and volutes. The tiered, pyramidal composition of the buildings (one or several decreasing octagonal volumes, octagons, rise above the lower quadrangle cube) expresses the feeling of their smooth ascent upward. Spacious walkway galleries with wide staircases connect the buildings with the surrounding space. In the Naryshkin Baroque style, the Church of the Resurrection in Kadashi (1687–1713, architect S. Turchaninov), the Church of St. Boris and Gleb in Zyuzino (1688–1704), Sukharev Tower (1692–95, architect M.I. Choglokov), newly decorated in the end. 17th century chambers of the Troyekurovs and Averky Kirillov.

“Naryshkin Baroque” is a relative term. This trend arose at the turn of the 17th and 18th centuries. Moscow "Naryshkin baroque" - a performance that is whimsical and full of grace. According to many art history researchers, it was formed not as an imitation of the West and some kind of “copying” of European architectural models. This style is unique and original, it fits organically into traditions ancient architecture Rus'. And it is perceived as a native Russian phenomenon in architecture. Architectural Western Europe contributed only a few, often almost imperceptible, elements to it.

The architects of that period embodied inner harmony and peace in their creations. "Naryshkinskoe Baroque" is festive and airy. The buildings are distinguished by a certain openwork lightness. At the same time, in the Western European style there is more dynamics, a desire to cover as much space as possible. The Western European trend was reflected mainly in the popularity of ornaments and rounded volumes.

Among other things, “Naryshkin baroque” embodies the contrast of two tones. The architects use a white stone pattern on a red brick background and use polychrome tiles. The architectural monuments of that time are very characteristic of polygonal (polygonal) or exceptional decorativeness, embodying the traditions of “grass ornament” and “Russian patterning”. This can be seen in the iconostases, pulpits, gilded boxes, painted in appropriate solemnity.

The first churches in this style appeared in the estates of the closest relatives of Tsar Peter the Great on the side of his mother. The emperor's uncle, Lev Naryshkin, became the inspiration for church buildings. The managing diplomat, boyar, he became the customer of the Church of the Intercession in Fili, the Savior in Ubory, the Trinity in Trinity-Lykovo.

The most talented person who embodied the ideas of the “Naryshkin baroque” was the nugget architect, a serf from the Moscow region, Yakov Bukhvostov.

The most striking monument was the Church of the Sign Holy Mother of God. It was erected at the end of 1680 - beginning of 1690 in the Naryshkin estate. Like other buildings, the church is presented in the form of a temple-bell tower. The splendor of the white stone decoration of the building is amazing. The master architects created a delightful filigree pattern of openwork parapets and the crosses, white stone and red brick facades, the original design of the tiered building give the church a fabulous lightness. In this building, the “Naryshkin baroque” was embodied in all its glory. There is a symmetrical composition of structures, carved pediments, voluminous window and door openings. The temple looked very elegant and festive.

The interior of the building, unfortunately, has not been preserved. And after closing in 1929, the building itself was slightly changed. Soviet leaders placed a canteen and a hospital in the church. In 1930, the outbuildings were demolished and a new building was erected along the street to house the expanding hospital. Subsequently, the church building suffered even more damage during the Great Patriotic War (a bomb exploded nearby).

Today the temple has been returned to believers. However, the building requires serious restoration. It should be noted that the building is located in unique place. The spirit of continuous history reigns here.

Conducted in these places indicate that it was here that the oprichnina court of Ivan the Terrible could be located. It is known that the state, including Moscow itself, was divided by the tsar into zemshchina and oprichnina. Grozny included the western territory of the city among his oprichnina possessions. The sovereign himself settled not far from the future Church of the Sign.

It should also be noted that the names of several streets in Moscow originate from the name of the temple. These include, in particular, Znamenka, as well as Znamensky Maly and Bolshoi Lane.

Naryshkinsky (Moscow) baroque is conventionally called the style in Russian architecture at the turn of the 17th – 18th centuries. Conditionally because researchers still cannot agree on whether this is a style or a regional movement. However, most of them are still inclined to believe that the Naryshkin Baroque can and should be considered as styles that have no analogues among other architectural styles. According to academician D. S. Likhachev, Naryshkin baroque is “an absolutely original, unique national-Russian phenomenon”, “the most striking” in Russian architecture at the turn of the 17th – 18th centuries.

History of style

Borrowing forms of facade decoration from various trends and styles (balustrades, pediments, columns, bas-reliefs, shells), the architects remained faithful to the canons of Russian design. They did not violate the clear division of space. This is also explained by Nikon’s decree concerning the unification of the form of churches (the so-called consecrated five-domed structure). In this regard, it was the diversity and variation of decor that became the main, symbolic one for the Naryshkin style.

Moscow Baroque buildings are characterized by dual scale. This is a combination of a gigantic one, directed upwards, and a second one, miniature and detailed. This tradition was continued further in many architectural projects of the first half of the XVIII centuries.
Exterior

The architects used ornamental modeling with elements of traditional Russian coloring to decorate the facades.

Through the efforts of Pyotr Naryshkin, Russian architects deliberately avoided using mystical symbols and signs characteristic of European Baroque. In his estates, craftsmen built temples, the decoration of which was dominated by local color. A striking example There are wonderful monuments to this: the Church of the Intercession of the Virgin in Fili, the Novodevichy Convent, the Trinity Church in Trinity-Lykovo, etc. They are characterized by decorativeness, elegance, secular cheerfulness, a contrasting combination of red brick walls and white carved elements.

A striking example of Naryshkin baroque is the bell tower of the Novodevichy Convent.

Here you can see the slender multi-tiered belfry pillar and the bell tower, consisting of six octagons, varying in height and diameter. All tiers, different in architecture, gradually decrease upward, forming an overall expressive 72-meter vertical.

All Naryshkin buildings display mannerism and theatricality of style. This is expressed in details such as:

curtain rods that do not cover anything;
brackets that hold nothing,
strange columns;
tiles, pilasters, pediments, etc.

By the way, all decorative elements are not overly pretentious. They do not shout about themselves, do not evoke, as in European Baroque, but only subtly remind of themselves. This distinguishing feature exterior of buildings in the Naryshkin style.

Interior

In the interiors of churches, the traditions of Russian patterning and grass ornament: Two-tone contrast, polychrome tiles and gilded carvings are used.

The baroque style typical of Europe is minimal here. This is the uniqueness of the Russian Baroque style.

If you look, for example, at the Church of the Intercession in Fili, you can note interesting features. What immediately catches your eye:

Spatial height and complexity of configuration, which are visually created due to the multi-tiered structure.
Lack of painting on white walls.
Using wooden carvings as the main decoration of the hall. Moreover, the carving was voluminous, sculptural and different from Flemish or Belarusian.
Abundant illumination of the premises.
The floor is made of oak blocks.
A massive, elegant chandelier lamp in the form of a lush flower garland.
Rich repertoire of ornaments.
Carved gilded iconostasis, which has a stepped shape; each icon is in its own frame, very high, with intricate carvings.
The royal lodges, which served as a place of worship for the Naryshkin family.

Paint the walls Naryshkin temples steel later, over three centuries the painting changed several times.

In general, what is striking is the solemn decorativeness, at the same time joyful and worldly character of the temple architecture, which distinguishes Naryshkin style from traditional Russian architecture.

Figures

Russian masters, and from the common people, took part in the creation of the Naryshkin baroque architecture (unlike, for example, Peter’s).

This largely determined the specifics of the style, focused on ancient Russian traditions construction of buildings, and supplemented with details borrowed from Western European architecture.

Among the Russian masters of the Baroque era, the names of two serf masters appear:

Peter Potapov, serf architect (Assumption Church on Pokrovka); Even Rastrelli and Vasily Bazhenov admired his skill. Napoleon himself admired the picturesqueness of the Assumption Church. During Patriotic War In 1812, he posted a guard near the church to protect it from fire. At the same time, he ordered the Kremlin to be burned.
(church in Trinity-Lykovo and 6 other churches), a brilliant architect, a genius of the people. It is he who is considered the creator of the new Russian style in architecture.

It’s surprising that Pyotr Naryshkin was not attracted Western masters. He was a real Russian man who wanted to perpetuate and develop domestic traditions, and at the same time show that “the Russian land can give birth to its own Platonov.”

The birth of Russian Baroque

conclusions

Naryshkin Baroque is a unique phenomenon in Russian architecture, unlike any other world architectural style. This original style absorbed all the best that was in Russian and Western architecture. Unfortunately, after the 1710s, such temples were no longer built. However, even before the end of the century, the influence of the Naryshkin style was felt in the works of Russian architects and even its branches were formed (the Stroganov branch).

To this day, Naryshkin baroque decorates many cities, and in small villages you can find the so-called. And more elite buildings are presented in the chalet, which is reflected not only in the architecture, but also in the beautiful interiors.

The very concept of “Naryshkin or Moscow baroque” is rather arbitrary. Despite the fact that it is generally accepted architectural style does not exist with such a name, experts understand perfectly well what it is about we're talking about. This style manifested itself most clearly in the thirty-year period from before, and it affected not only the Moscow region, but also the periphery very remote from the center. Subsequently, the Naryshkin baroque experienced a period of revival already in the 20th century, in particular, elements characteristic of this style can be found in the design of the Komsomolskaya ring station of the Moscow metro, the Leningradskaya hotel building, in the architecture and decorative design Kazansky railway station building.

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

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

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

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

The end of the triumph of the Naryshkin style occurred at the beginning of the 18th century. This time was marked by the arrival of Western craftsmen and architects to Russia, as well as Peter the Great’s ban on the construction of stone buildings anywhere except St. Petersburg. It is worth noting that in the periphery the Naryshkin style, as a priority in the construction of churches, lasted 80-90 years longer. Elements of the Naryshkin baroque can be found on the facades of many village churches more than late period. It was in this way that local architects tried to give the churches solemnity and similarity to Moscow churches.