What features did the Naryshkin Baroque architectural style have? The style of Russian churches is Naryksha Baroque
Plan
Introduction
1 Title
2 Prerequisites for the emergence
3 Features
4 Buildings
5 Importance for Russian architecture
6 List of buildings
7 Significant Architects
8 Interesting facts
Bibliography
Introduction
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.
1. Title
The name “Naryshkinsky” was assigned to the style after close study in the 1920s. Church of the Intercession, built in the late 17th century. Naryshkin Filyakh. Since then Naryshkin architecture sometimes called “Naryshkinsky”, and also, given the main area of distribution of this phenomenon, “Moscow baroque”. However, a certain difficulty arises when comparing this architectural direction with Western European styles, and it is connected with the fact that, stage by stage, early revival, the Naryshkin style in terms of form cannot be defined in the categories established on Western European material; it contains features of both Baroque, Renaissance and Mannerism. In this regard, it is preferable to use one that has a long tradition of use in scientific literature the term "Naryshkin style".
2. Prerequisites for the emergence
In the 17th century a new phenomenon has appeared in Russian art and culture - their secularization, expressed in the spread of secular scientific knowledge, a departure from religious canons, in particular in architecture. From about the second third of the 17th century. the formation and development of a new, secular culture begins.
In architecture, secularization was expressed primarily in the gradual departure from medieval simplicity and severity, in the desire for external picturesqueness and elegance. Increasingly, merchants and township communities became the customers for the construction of churches, which played an important role in the nature of the buildings being erected. A number of secularly decorated churches were erected, which, however, did not find support in the circles of church hierarchs, who resisted the secularization of church architecture and the penetration of secularism into it. Patriarch Nikon in the 1650s banned the construction of tented churches, replacing them with the traditional five-domed structure, which contributed to the emergence of tiered churches.
However, the influence secular culture Russian architecture continued to intensify, and some Western European elements also penetrated into it fragmentarily. However, after Russia concluded Eternal peace with the Polish-Lithuanian Commonwealth in 1686, this phenomenon acquired greater scope: established contacts contributed to the large-scale penetration of Polish culture into the country. This phenomenon was not homogeneous, since at that time the eastern outskirts of the Polish-Lithuanian Commonwealth were inhabited by Orthodox Ukrainians and Ukrainians who were similar in culture. Belarusian peoples, and part of the culture, including purely national elements, was borrowed from them. Connection Features various styles and cultures, as well as a certain “rethinking” of them by Russian masters and determined the specific nature of the new emerging architectural movement - Naryshkin style .
3. Features
The Naryshkin style combines the features of Russian architecture with elements of Central European, primarily Ukrainian baroque, elements of the “big” European styles, such as the Renaissance and mannerism, Belarusian crafts, especially tile making. The main source of borrowing was the Grand Duchy of Lithuania, located beyond the western borders of Russia. Thus, on Russian soil arose quite original style, which, being based largely on national traditions architecture, organically fit into the local architecture of that time, introducing at the same time new features into the construction art of Russia. The style became a very arbitrary adaptation of the Baroque for Russia, in contrast to the buildings of Peter the Great's Baroque.
The best examples of the Naryshkin style are considered to be the centric tiered churches that appeared, although in parallel with this innovative line, many traditional, pillarless, covered with a closed vault and crowned with five domed churches, enriched with new architectural and decorative forms - primarily borrowed from Western European architecture elements of the order, which marked the trend of transition from medieval orderless to sequentially ordered architecture. The Naryshkin style is also characterized by a two-color combination of red brick and white stone, the use of polychrome tiles, and gilded wooden carvings in interiors that follow the traditions of “Russian patterning” and “grass ornament.” The combination of red brick walls trimmed with white stone or plaster was characteristic of buildings in the Netherlands, England and Northern Germany.
Buildings built in the Naryshkin style cannot be called truly baroque in the Western European sense. The Naryshkin style is basically architectural composition- remained Russian, and only individual, often subtle decorative elements were borrowed from Western European art. Thus, the composition of a number of erected churches is the opposite of baroque - individual volumes do not merge into a single whole, plastically transforming into each other, but are placed one on top of the other and strictly demarcated, which corresponds to the principle of formation typical of ancient Russian architecture. Foreigners, as well as many Russians familiar with Western European examples of baroque, perceived the Naryshkin style as a native Russian architectural phenomenon.
4. Buildings
Some of the first buildings in the new style appeared on the Moscow and Moscow region estates of the boyar family of the Naryshkins (from the family from which the mother of Peter I, Natalya Naryshkina, came), in which secular-ornate multi-tiered churches made of red brick with some white stone decorative elements were erected ( vivid examples: Church of the Intercession in Fili, 1690-93, Trinity Church in Trinity-Lykovo, 1698-1704), which are characterized by symmetry of composition, logical mass ratios and placement of lush white stone decoration, in which a freely interpreted order borrowed from Western European architecture , serves as a means of visually connecting the multi-component volume of the building.
“The Church of the Intercession in Fili... is a light lace fairy tale... purely Moscow, not European beauty... That is why the style of Moscow Baroque has so little in common with Western European Baroque, that is why it is so inextricably fused with all art, directly to it in Moscow that preceded it, and that is why for every foreigner the Baroque features are so elusive... The Intercession in Fili or the Assumption on Maroseyka, which seem to him exactly the same Russian as St. Basil.”
Igor Grabar, Russian art critic
The Church of the Intercession in Fili was built according to the principles of formation typical of Russian architecture of the 17th century, representing a tiered five-domed temple, in which the strictly demarcated volumes of the bell tower and the church are located on the same vertical axis, the so-called octagon on a quadrangle. The quadrangle, surrounded by semicircles of apses, is actually the Church of the Intercession itself, and located higher, on the next tier, the octagon is the church in the name of the Savior Not Made by Hands, covered with an eight-tray vault. On it rises a tier of bells, made in the shape of an octagonal drum and topped with an openwork gilded faceted onion dome, while the remaining four domes complete the apses of the church. At the base of the church there are walkways, surrounding the church are spacious open galleries. Currently, the walls of the temple are painted in pink color, emphasizing snow-white decorative elements the buildings.
The completely snow-white Trinity Church, located in another Naryshkin estate, Trinity-Lykovo, and erected by Yakov Bukhvostov, has similar features. Many other buildings in the Naryshkin style are associated with the name of this architect, a serf by origin. It is significant that Bukhvostov’s buildings contain elements of a deliberately introduced Western European order (the corresponding terminology is also used in contract documentation), however, his use of order elements differs from that accepted in European tradition: the main load-bearing element, as in Old Russian architectural tradition, the walls remain, almost disappeared from view among the numerous decorative elements.
Another outstanding building in the Naryshkin style was the thirteen-domed Assumption Church on Pokrovka (1696-99), built by the serf architect Pyotr Potapov for the merchant Ivan Matveevich Sverchkov (1696-99), which was admired by Bartolomeo Rastrelli Jr., and Vasily Bazhenov put it on a par with the Church of St. Basil Blessed. The church was so picturesque that even Napoleon, who ordered to blow up the Kremlin, placed special guards near it so that it would not be affected by the fire that started in Moscow. The church has not survived to this day because it was dismantled in 1935-36. under the pretext of widening the sidewalk.
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. Round volumes 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 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 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 18th centuries. 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.
Naryshkinsky or Moscow Baroque is the conventional name of a specific style direction in Russian architecture of the late 17th - early 18th centuries, the 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 such an important role in history of Russian architecture.
“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.
As you know, architecture is a reflection social processes in appearance buildings. In the middle of the 17th century, Moscow Rus' as a whole was recovering after the Time of Troubles. ornaments appear depicting paradise; houses are beginning to be decorated with purely decorative details that do not serve an engineering function; there is a fashion for bright clothes; houses also began to be brightly painted. Another feature of this time was the fashion for everything related to travel (in architecture this manifested itself as the image of tropical plants on the facades; volutes were brought from ships; the octagon corresponds to the shape of a lighthouse; the spire is a reminder of the mast; round windows are associated with portholes ; shells are also symbols of travel). Thanks to travel, Russian stone craftsmen get acquainted with western architecture and begin to penetrate into the essence of the order system. Style characteristics
So, the Naryshkin baroque is characterized by centricity, tieredness, symmetry, balance of masses, known separately earlier and developed here in whole system, supplemented with order details. His typical buildings are churches in estates near Moscow, tiered, on a basement, with galleries. The Naryshkin monuments familiar to us are usually red with white decoration, but we cannot say with certainty what color they originally had: for example, the first layer of paint Church of the Resurrection in Kadashi turned out to be yellow-blue. The Naryshkin style uses, firstly, forms borrowed from Western European architecture of the late Renaissance and Baroque: broken pediments, shells, cartouches, mascarons, gems, balustrades with vases, volutes, spiral columns on brackets, etc. Secondly, we can highlight the motives associated with travel, which were mentioned above.
The style is mannered, theatrical: columns that do not support anything (often they have a bolster at the entasis level - that is, the place where the thickening of the column falls, on which the main load falls - and if they were carrying something, it would be along this bolster that they would break ), gables that do not cover anything, brackets that do not hold anything, fake windows, etc. Thus, in the Church of the Intercession in Fili, the brick walls are smoothly plastered and on top of the plaster drawn brickwork. One of early monuments Naryshkin style - Novodevichy Convent. His Church of the Transfiguration (1686) resembles a three-story palace raised above a three-span arch. The similarity is emphasized by the lush platbands around the false windows painted on the cypress masonry of the blank eastern wall. White shells separate the tower-shaped body of the Church of the Transfiguration from the multi-tiered decorative domes. Domes with a neck (another feature of the Naryshkin style) are shaped like exotic fruits, of which many were brought to Russia at that time. Bell tower of the Novodevichy Convent(1689-1690) is a brilliant example of Naryshkin baroque. The slender multi-tiered pillar of the belfry is very harmonious. The bell tower consists of six octagons of different heights and diameters. IN lower tier the temple of Joasaph was originally located (this also gives an idea of the era - “The Tale of Varlaam and Joasaph,” who traveled and chose religion, is the first adventure novel read in Russia). In the second tier there is the Church of St. John the Evangelist, into which a wide white stone staircase leads from the wall. The third tier is intended for the “big ringing” bells, and the largest of them, weighing 550 pounds, is Sophia’s contribution. The scalloped arch is reminiscent of Arabic architecture. The fourth tier, decorated with white stone circles, was intended for a tower clock.
Assumption Cathedral in Ryazan. It was built by Bukhvostov in 1693-1699. When creating it, the architect relied on the model of the Assumption Cathedral of the Moscow Kremlin. This is the most big monument Naryshkin Baroque and one of the most majestic buildings of its time, at the same time very clear and harmonious in composition. It came to us rebuilt: the white stone parapet disappeared, the shape of the roof was changed. It is based on the design of a five-domed Godunov-type cathedral. The temple stands on a basement with an open walkway and one the main staircase. For the first time in Russian architecture, it is divided into tiers using rows of windows. The walls are divided vertically into three parts, which corresponds to round internal supports placed at the same distance. The composition is also symmetrical, the sizes of the window openings are the same.
The most remarkable thing about the cathedral is its decor. Thin paired columns divide the planes of the facades into equal parts and set the tone for the white stone pattern. The only theme of the carving is leaves, flowers, grapes, but not a single detail is repeated. After the 1710s, capitals stopped building Naryshkin temples. At this time, Western masters arrive in Russia
Russian culture of the 17th century
INTRODUCTION
The 17th century, being a period of rapid development of ancient Russian culture, was at the same time the century of its completion. While maintaining the main features of the traditional way of life, Russian society begins to transform in a direction that will subsequently find its highest expression in the reforms of Peter the Great. Russia stood on the threshold of a new time. Two trends are clearly visible in culture: the penetration of Western European influences and the progressive process of secularization, that is, liberation from the domination of the church.
Penetration of ideas and forms European culture, ideological disputes that led to a schism, church art, which lost its craving for depth and comprehension of essence, are very characteristic of the new century. An uncontrollable desire for descriptiveness and decorativeness appears.
Artistic creativity is turning from a sacred activity into a craft.
Church reform was a departure not only from medieval culture, but also from domestic, traditional culture: the country did not abandon its original type of culture, but more carefully took into account Western trends. All this caused relevance of this abstract.
Purpose The work is a study of Russian culture of the 17th century.
To achieve the goal, it is necessary to consider a number of tasks: firstly: consider the architecture, patterned style, “Naryshkin baroque”; secondly, “Stroganov” and “Godunov” painting, the school of icon painting of that period; thirdly, musical aesthetics, literature, printing and theater; and finally, sculpture and decorative arts of the time.
Chapter I. Architecture. Patterned style. Naryshkinskoe Baroque
In development architecture XVII V. Three stages can be distinguished. At the beginning of the century, the general character of the architecture was still little different from the architecture of the late 16th century.
In churches throughout the 17th century. the same evolution took place from complex and asymmetrical compositions to clear and balanced ones, from the picturesque brick “pattern” of the facades to clearly placed order decoration on them. For the first half of the 17th century. typical pillarless churches with a closed vault are “patterned” churches with a refectory, chapels and a bell tower. They have five chapters, cupolas over the chapels, tents over the porches and bell tower, tiers of kokoshniks and cornices, platbands, and milled belts inspired by residential architecture. With their fractional decoration, picturesque silhouette and complexity of volume, these churches resemble multi-timbered rich mansions, reflecting the penetration of secular principles into church architecture and losing the monumental clarity of the composition. Pilyavsky V.I. History of Russian architecture.
A characteristic feature of the second stage, covering the middle of the century, is the emphasized decorativeness, elegance and multi-colored architectural decoration. Patriarch Nikon forbade the construction of popular buildings in the 16th century. hipped temples as non-canonical, different from Greek models. By special orders, the architects were obliged to return to the traditional cross-dome design. However, architects easily circumvented the ban. A new opportunity has been found to use a favorite architectural element- the bell towers were crowned with tents. As a result, buildings of remarkable beauty with intricate, asymmetrical, “fairy-tale” architecture appeared. These are, for example, Trinity Church in Nikitniki (1634) and Church of the Nativity of the Virgin Mary in Putinki (1652) Nikolsky N.M. Nikon's reforms and the origin of the schism // Three centuries. Essays on Russian culture of the 17th century.
The third stage begins in the 90s. XVII century Significant changes are taking place in Russian architecture. Appears a new style - « Naryshkin baroque ", which received its name because the main customers for buildings made in this style were relatives of the Tsar’s second wife, mother of Peter I, Natalya Kirillovna Naryshkina. A characteristic feature of this style was the use in decoration of elements reminiscent of the forms of the Western European Baroque style. However, baroque in literally words architecture of the 90s. XVII century cannot be named - the influence of European architecture was limited to the external design of buildings, without affecting the structure itself. Besides Western traditions Russian wooden architecture also made itself felt in the “Naryshkin baroque”. Tits A.A. Russian stone residential architecture of the 17th century.
The most striking example of the “Naryshkin baroque” is Church of the Intercession in Fili (1693), in which the traditional Russian wooden architecture form of a tiered church is combined with Western European style decor. From the 17th century Beautiful wooden temples have survived to this day. Widely known architectural complex Kizhi . Pilyavsky V.I. History of Russian architecture.
In addition to temple construction, secular buildings are being built. Tents are being built over the towers of the Moscow Kremlin. In the 30s a stone stone was built on the territory of the Kremlin Terem Palace (architects Bazhen Ogurtsov, Antip Konstantinov, Trefil Sharutin, Larion Ushakov), and at the end of the 60s - a country royal residence - wooden palace in the village of Kolomenskoye (not preserved until today), which, according to contemporaries, with its elegance resembled “a toy just taken out of a box.” The wealthy part of society followed the king. Stone stones have survived to this day. Chambers of Averky Kirillov in Moscow (1657).
