Naryshkinsky baroque in architecture examples. Naryshkinskoe Baroque (Moscow Baroque) Origin of the style

As you know, architecture is a reflection of social processes in the external appearance of 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 their travels, Russian stone craftsmen become 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

Naryshkin Baroque is the fruit of the borrowing of Western style in architecture, which began in our country on the eve of Peter the Great's reforms. Basically, this style existed in the Moscow region from the 1680s to the 1710s and a little longer on the periphery of Russia. It owes its name to the boyar family of the Naryshkins, on the territories of whose estates in Fili, Kuntsevo, Sviblovo, Troitse-Lykovo, etc., today you can find examples they ordered in this style. They are recognizable by their traditional old Russian design and at the same time elegant flowers and abundant, often white stone.

Development of the Naryshkin Baroque style

There is some irony of history in the fact that the first who began to order baroque churches in Rus' were the Miloslavsky boyars (thus, Sofia began to build the Novodevichy Convent), whom the Naryshkins defeated in their rivalry for power. Strengthening their position, they launched “enlightened” construction, showing their power, wealth, and also openness to new trends. Thus, the most noticeable version of the Moscow Baroque began to be named after them (along with the less original Golitsyn Baroque and rare traces of Peter the Great’s Baroque outside the imperial capital ).

The historical meaning of the Naryshkin baroque was the penetration of the Western spirit and, however, the masterpieces that resulted along this path surprisingly revealed deeply Russian aesthetics. Actually, today art historians prefer to use the name “Naryshkin style”, because Baroque in its early Russian version acquired special shape. If Peter I demanded the complete adoption of a new artistic language, then the creators of the Naryshkin style more carefully transplanted western architecture on native soil. According to Igor Grabar, foreigners perceived the Naryshkin style as an original Russian architectural phenomenon.

So, Russian masters did not borrow the entire integrity of the Baroque style. In its mature examples, Baroque is an active formation of space, modeling of dynamic volumes, lines with the energy of collision, contradictions, a combination of sublime images of the Renaissance - with earthly weight, horizontal divisions, heaviness and abundant decoration. Borrowing the forms of late, Baroque, Mannerism, using new forms of facade decoration from it: with vases, and - nevertheless, did not violate the usual clear division of space and the established canons of Russian formation. In fact, they did not have such an opportunity - Patriarch Nikon issued a special decree to unify the shape of churches (the so-called “consecrated five-domed structure”), establishing the canons of construction. Therefore, it was the varied variation of decor that became the main thing in the Naryshkin style, although the role of this wealth for the design of buildings remained symbolic and symbolic. Functionally, superfluous superstructures, false pediments, and excessive splendor of decorations indicated the European taste of the customer and served as an expression of cultural interests, but could not express the actual transition to the architecture of the New Age.

In the Naryshkin style and became a transitional link from the pan-European architecture of “secularization”.

The significance of the Naryshkin style for architecture

The Naryshkin style is transitional not only because it reflects the partial borrowing of a new language, but because it was scrapped historical eras, stirring different worldviews. This is the reason that less is known about the masters who created it than about the customers. The name stuck with the latter, and most of the masters remained medieval anonymous, heads of the corresponding artels. It was possible to restore only a few names of architects of that period, including Yakov Bukhvostov, Sergei Turchaninov, Pyotr Potapov. It is known, however, that many of the ordinary builders of this style came from the territory of the Polish-Lithuanian Commonwealth, after the imprisonment eternal peace with which in 1686 the appeal to the West and its culture unfolded freely. Researchers see a relationship between the Naryshkin baroque and the Ukrainian and Polish examples and find in it the roots of Belarusian folk decorative culture.

Most of the Naryshkin monuments familiar to us are red with white stone decoration, but it is impossible to judge with confidence their original color (for example, it turned out that in the Church of the Resurrection in Kadashi (see illustration) the first layer of paint was yellow-blue), also using Little Russian tiles type. Another aspect of the Naryshkin style, in addition to external decor, is the centric composition in temple architecture. Around this period, brick came into wider circulation, providing new construction opportunities. The festive decorativeness, joyful and “worldly” character of temple architecture in comparison with the traditionally strict Russian architecture is also a striking feature of the style.

Examples of Naryshkin Baroque

The main examples of Naryshkin baroque are concentrated in Moscow. This is, first of all, the Church of the Intercession Holy Mother of God in Fili (1690-1694): a tiered five-domed temple, in which the volumes are strictly demarcated and located on the same vertical axis, the so-called on. In Novodevichy, listed in the register architectural monuments UNESCO, excellent examples of Moscow Baroque have been preserved: this is the currently operating Assumption Church (1685-1687) and the Gate Church of the Intercession of the Virgin Mary (1683-1688). Another building from the heyday of the style is the mentioned Church of the Resurrection of Christ in Kadashi (1687), the name of the architect of which history has preserved is Sergei Turchaninov. Already at the end of the style, during its transition to the more “pure Western” Peter the Great baroque, Ivan Zarudny built another famous Moscow building- Menshikov Tower (1705-1707). Soon Peter banned stone construction outside St. Petersburg, and the appearance new capital already reflected to a lesser extent ancient Russian tradition, leaving the Naryshkin baroque to create a nostalgic image of old-fashioned provincial Moscow. This type of architecture received a second life already in the 20th century, inspiring Art Nouveau architects to adopt a pseudo-Russian style.

Website materials used: http://ru.wikipedia.org/, http://www.temples.ru/n_style.php http://www.projectclassica.ru/school/12_2004/school2004_12_01a.htm, http:// commons.wikimedia.org/

At the end of the 17th century there was an increasing rejection of the canons ancient Russian architecture in temple architecture. The new architectural style was called “Naryshkin Baroque” after the relatives of the second wife of Tsar Alexei Mikhailovich - Natalya Kirillovna Naryshkina, mother of Peter I. In the decorative forms of Russian architecture, the second half XVII centuries appeared baroque elements. A new style received the name Moscow Baroque, since Russian architecture of the 17th century differs significantly from Italian and Austro-German. If Western European baroque is characterized by tension and constrained energy, then Russian baroque is characterized by optimistic elation and festivity.

In Baroque architecture, pilasters, columns, vases, cartouches, and sculptures were grouped in different ways to create the majesty of wealth. A variety of interior decor was provided, combining the walls and ceiling with colorful panels, figured mirrors, and lamps. The furniture was also selected to be complex and intricate in shape, rich in decor. All this created general impression pomp and luxury.

During the Moscow Baroque period, the quality of wall masonry improved. Thanks to this, they became thinner, the walls were narrower, and large rectangular windows appeared, which improved the illumination of the rooms. Improvements in construction technology have made it possible to increase the size of the premises.

One of the magnificent examples of 17th-century architecture is the Church of the Intercession in Fili. It is a tower-tier composition. The cubic base is adjoined on all sides by semicircular projections, so in plan the church looks like a flower with four petals. An octagon is placed on top of the quadrangle, on top of it is another smaller one with openings for bells, and on top is an octagonal base of the chapter. The building was built of red brick and richly decorated with carved white stone decoration (window frames, wall columns, picturesque lace parapets). In general, the church solemnly and smoothly rushes upward.

“Menshikov Tower”, or the Church of the Archangel Gabriel (1704-1707), is a composition of several tiers characteristic of Russian church architecture. At the same time, compared to the 17th century. new architectural techniques were used here. Particularly bold and innovative was the use of a high spire in a church building, which was then so successfully used by Russian architects.

In the mid-17th century, large construction projects were carried out in one of the main trading centers of Rus' - Yaroslavl, which escaped ruin during the Time of Troubles. Economic prosperity contributed to the transformation of Yaroslavl into an important center artistic culture. Churches were built here, their style reminiscent of 16th century cathedrals. The most significant of them are the Church of Elijah the Prophet and the Church of St. John Chrysostom in Korovniki.

The ensemble of the Church of Elijah the Prophet is distinguished by its asymmetry: a chapel with a hipped roof is attached to the northern wall, and a hipped bell tower is attached to the southern wall; they are connected to each other by a low gallery-porch surrounding the southern and northern facades of the building. The combination of onion domes and tent coverings is a whimsical decorative decoration (the walls are painted in red and blue flowers), the different sizes of parts of the building give it a picturesque, fabulous look.

The five-domed Church of St. John Chrysostom has paired hipped aisles on the sides, two front porches, and a surrounding building open gallery, which was later closed and decorated with windows with front frames. Later, another temple appeared near the church, and between them a bell tower with a tent.

In the 17th century, many wooden churches were built; they were placed in churchyards and in the centers of villages. Wooden churches had a multifaceted base and were traditionally crowned with tents. As a rule, wooden temples, even multi-domed ones. They have a pyramidal silhouette. In the 17th century, wooden architecture reached its highest perfection, as exemplified by the Church of the Transfiguration in Kizhi, which is an octagon with four aisles, topped with six tiers of decorative onion-shaped domes rising to the central dome. The Church of the Transfiguration is often compared to a spreading giant spruce tree, since it amazes not only with its grandeur, harmony of proportions, and elegance of appearance, but also with its amazing unity with the surrounding spaces.

Civil buildings of the 17th century, on the contrary, were guided by Western European models with their inherent strict symmetry, division into floors, and orderly decor. At the same time, the passion of Russian masters for colorful and picturesque decoration not only gave the buildings pomp and majesty, but also brought variety to their appearance. The chambers of Averky Kirillov, Simon Ushakov, Prince Golitsyn, the tower in the Krutitsky courtyard, the refectory chambers of the Novodevichy and Simonov monasteries are rectangular buildings raised to a high basement, but externally different due to their decorative decoration. Particularly interesting in this regard was the wooden palace of Tsar Alexei Mikhailovich (1667-1681) in the village of Kolomenskoye. The palace was a complex combination of a large number of log buildings, united by passages. Copper lions stood in front of the entrance gate. They greeted those approaching with a growl, rolled their eyes, opened their mouths. Above the gate in a special room there was a mechanism that set the lions in motion. The “voices” immured in the masonry of the gate enhanced the impression of the “Lion’s Roar.”

Among other buildings of the Naryshkin boyars, the refectory of the Trinity-Sergius Lavra, which has a richly decorated facade with painted walls and shells on the cornices, the church in Trinity-Lykovo, the Church of the Assumption in Ryazan, is notable. They were built by Yakov Bukhvostov, who also built the Church of the Savior Not Made by Hands in Ubory for the Sheremetevs.

An architectural masterpiece of the 17th century. became the Novodevichy Convent, the buildings of which around the already existing Smolensk Cathedral formed an integral ensemble with a bell tower, a refectory, the Assumption Church, and gate churches.

In composition, the “Naryshkin churches” were a traditional octagon on a quadrangle, complicated by lush order decorations (vines, pomegranates, tulips, fruits, flowers) and lace ornaments made of white stone on the red brick surface of the wall. The “Naryshkin style” has been preserved in Moscow for quite a long time. A typical example The evolution of the Moscow Baroque was the temple of the Archangel Gabriel, built for Prince A. Menshkov, the so-called Menshikov Tower. This is a pillar temple, traditional for ancient Russian architecture, architecturally correlated with the bell tower of Ivan the Great, the Church of the Ascension in Kolomenskoye, but already foreshadowing the gilded spitz of Peter the Great's architecture.

A peculiar ending architecture XVII V. and the beginning architecture XVIII V. became the Church of the Sign of Our Lady, built by Peter I’s tutor B.A. Golitsyn on his Dubrovitsy estate near Moscow. The plan of the church was a typical Renaissance solution, based on a combination of circles and two volumes: a centric pillarless temple with a cross in plan, and a two-tier octagon with pronounced Baroque features. Combined with a fancy relief floral ornament, with an abundance of sculpture and an openwork golden crown instead of the traditional dome, the church in Dubrovitsy showed an example of a unique style that was not repeated anywhere else, called the “Goliin Baroque”.

The development of the style is evidenced by the architecture of the church in Petrov and the gate church of the Donskoy Monastery.

The economic recovery that followed the time of unrest contributed to the revival monumental painting in Rus'. Under Mikhail Romanov, the cathedrals of the Moscow Kremlin were re-painted. In 1642-1643, the picturesque decoration of the Assumption Cathedral was entrusted to Ivan Pasein and the masters. They were given the task of repeating the compositions of the paintings of the early 16th century, so the most significant frescoes were dedicated to the patroness of Moscow - Our Lady of the New Testament Trinity. The painting illustrated the idea of ​​God's chosenness of the Moscow Church as the center of world Orthodoxy. In 1652-1666, Yakov Kazanets and then Simon Ushakov painted the Archangel Cathedral. The main theme of the fez is the glorification of the Moscow dynasty, therefore, above each tombstone there is an image of the patron saint of one or another Moscow prince. The princes themselves are presented as righteous people with halos around their heads. In the 17th century, advances in education, expansion of ties with the West, and, consequently, increased influence Western culture inevitably strengthened the secular principle in the fine arts. The new paintings, basically repeating the previous ones, were distinguished by greater decorativeness and some deviation from the pictorial canons.

Compared to the Kremlin frescoes, wall painting in other churches was less formal and more free in nature and covered the walls and vaults, pillars and domes with a continuous multi-colored carpet. Aspiration towards the everyday genre and a departure from old canons in iconography became a sign of the times. Such, for example, is the mural of the Trinity Church in Nikitniki. At the same time, the artist chose those scenes from the Old and New Testaments where he could fully reveal his interest in reality: “marriage in Cana of Galilee” and “ Prodigal son in the company of beauties." On the wall of the southern aisle, in a group of people without halos, members of the Nikitnikov family of merchants were depicted. The western wall of the temple with the passage to the refectory was skillfully played out with a fresco illustrating the parable of the wise and foolish virgins: the artist depicted the young maidens climbing the steps of the stairs located on the sides of the arched opening.

A special line of development in Russian monumental art painting XVII centuries, Yaroslavl murals were compiled. In the second half of the century, about thirty large fresco ensembles were created in Yaroslavl. Even Moscow did not know such a scale. They valued, first of all, the entertaining images, numerous everyday details, and the use of European samples, including engravings from the famous Piscator Bible, published in Holland in 1650. At the same time, the paintings remained Russian in spirit. Artists painted crowd scenes, and many faces in the crowd were recognizable. Characteristic feature multi-figure compositions began to convey movement and dynamism. The paintings were divided into three or five tiers, and the scenes merged into one another, united by a common background, which was typical only for the painting of Yaroslavl. Only grandiose Last Judgment, which, according to the old custom, occupies the western wall, looks isolated.

So, the “Naryshkin baroque” is characterized by optimistic elation and festivity. This style was developed in Moscow. There, religious structures gradually lost the features of severity that came to us from abroad. The style has become more elegant and sophisticated. IN mid-18th century V. many architectural forms began to gradually lose their practical significance and turned into decorative elements, mainly used as overlay decoration to enrich the facades of buildings, which indicated the completion of the evolution of the Baroque style.

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.

Neither in the earlier Old Russian nor in Western European architecture There are no close parallels to this style. 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 there were solid pine forests here (hence the name of the village - “At the Forest”), the Uborka River flowed into the Moscow River, and 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 “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 of 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 an 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, architecture-oriented Western Europe to the boyar family of the Naryshkins, on whose Moscow and Moscow region 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 considered Naryshkin style or they use the generalized concept of “Moscow Baroque”) 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.