A striking illustration of the Naryshkin Baroque style is. Naryshkinskoe Baroque (Moscow Baroque) Origin of the style

Temple icons Mother of God"The Sign" at Sheremetev Yard— Orthodox church in the Naryshkin Baroque style. 1680s Built at the expense of Lev Kirillovich Naryshkin, a relative of Tsar Alexei Mikhailovich.

Moscow Naryshkin Baroque- this was the name of the style direction of Russian architecture of the late 17th and early 18th centuries, which became the initial stage in the formation of Russian Baroque.

This direction in architecture owes its name to the boyar family of the Naryshkins, who built temple buildings with elements of European Baroque on their estates (a complex of architecture of the late 17th - early 18th centuries: include churches in Fili, Troitsky-Lykovo, Ubory, Dubrovitsy, Uspeniya on Maroseyka).

Heinrich Wölfflin (1864 - 1945) - Swiss writer, historian, art critic, theorist and art historian

Moscow Baroque- the name is very conditional, since in addition to Baroque, the buildings contained Renaissance and Gothic features, combined with the traditions of Russian architecture.

If we consider the system of definitions of architectural styles that he created G. Wölfflin,then the concept of “Baroque” cannot be applied to this architectural phenomenon.

However, Wölfflin's research dealt exclusively with the Italian Baroque, which differed from the Baroque in other countries. In addition, as the researcher himself stated, Baroque does not have clearly defined boundaries.

Moscow Baroque became a link between the architecture of patriarchal Moscow and St. Petersburg construction in the European style. Distinctive feature This style was the direction of buildings upward, their multi-tiered, patterned facades.

Trinity Church in Trinity-Lykovo. In 1935 it was included in the list of the League of Nations outstanding monuments world architecture. Arch. Ya. Bukhvostov.

Yakov Grigoryevich Bukhvostov (late 17th - early 18th centuries) - architect, one of the founders of the Moscow Baroque. Bukhvostov's buildings are made of brick with a characteristic lush white stone decoration.

Baroque in Moscow 17-18 centuries. preserved much of the centuries-old traditions of Russian architecture, to which new features were added.

This trend is characterized by multi-tiered architecture of churches, boyar chambers with white stone masonry, combined with elements of the order: columns, half-columns, etc., framing the spans and edges of buildings.

The following buildings can also serve as examples of Moscow Naryshkin baroque: Assumption Church on Pokrovka.

The Naryshkin Baroque was embodied in the work of a serf architect P. Potapova- thirteen-domed Assumption Church on Pokrovka. Academician Likhachev described it as a light “cloud of white and red lace.” The church was dismantled in 1935-1936.

Church of the Assumption Holy Mother of God on Pokrovka there is a parish church. 1696-1699 Arch. Serf P. Potapov. The church was built at the expense of the merchant I. Sverchkov.

Novodevichy Convent

In the 17th century, under Princess Sophia, it was built architectural ensemble with the cathedral in the center.

Novodevichy Convent (Novodevichy Bogoroditse-Smolensky Monastery) is a Moscow women's Orthodox monastery monastery.

Krutitskoye Compound

Osip Dmitrievich Startsev (? - 1714) - one of the Moscow architects of the late 17th - early 18th centuries.

Pyotr Dmitrievich Baranovsky (1892-1984) Soviet architect, restorer of ancient Russian architecture.

Built in the 18th century, originally as a monastery, and then this place became the residence of bishops. Architect O. Startsev built in 1700 the Cathedral of the Assumption of the Blessed Virgin Mary (Small Assumption Cathedral), the lower church of Peter and Paul (1667-1689).

The Metropolitan Chambers were created in 1655-1670 and restored P. Baranovsky.

The Krutitsky tower and the Resurrection passages (1693-1694) were built with the participation of O. Startsev. Tiles by S. Ivanov were used to decorate the tower and the Holy Gate.

Krutitsky courtyard.

Moscow Church of the Intercession in Fili (1690-1694)

Built at the expense of L.K. Naryshkin, the brother of Tsarina Natalya Kirillovna. The architect is not known (there is evidence that the author is Ya. Bukhvostov, but it is also possible that the church was built by P. Potapov).

The structure is decorated with columns and capitals. His color scheme characteristic of Russian traditions: a combination of red and white flowers in facade decoration.

Church of the Intercession in Fili. Moscow. 1690-1694

Church of the Resurrection of Christ in Kadashi. Moscow.

The first building was created in 1657. In 1687, at the expense of merchants K. Dobrynin and L. Dobrynin, construction of a five-domed temple began. In 1685, the portals of the lower church were created, and a six-tier bell tower (height 43 m) was added.

Window trims, portals, scallops and cornices are decorated with white stone patterns. Presumably, the author of the temple was Sergey Turchaninov(? - early 18th century) Russian architect who completed the construction of the Resurrection Cathedral in the New Jerusalem Monastery. In the 20th century, the temple was restored by the architect G. Alferova(1912 -1984)

Church of the Resurrection of Christ in Kadashi.

Baroque in Moscow was created mainly by Russian masters, which determined the features of the buildings and their aesthetics. The buildings had a design traditional for ancient Russian churches, combined with elements of European architecture, which were used mainly in decoration. Features of the style appeared in architecture more late period. For example, Moscow Baroque combined with the Italian style and manifested itself in the temple Saint Clement(1762-1769) (presumably, architect P. Trezzini or A. Evlashev).

Church of St. Clement. Moscow. (presumably, architect P. Trezzini or A. Evlashev). (1762-1769)

Naryshkin Baroque is a typically Russian phenomenon, easily recognizable and has become important milestone on the path to the formation of Russian Baroque.

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 form. If Peter I demanded the complete borrowing of the new artistic language, then the creators of the Naryshkin style were more careful in replanting 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 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 conclusion of 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.

Church of the Intercession in the Novodevichy Convent

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 of the Blessed Virgin Mary in Fili (1690-1694): a tiered five-domed church, 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 in to a lesser extent reflected 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/

Let's start here new genre- illustrative material for a lecture course on the history of Russian architecture. So far there is no strength or opportunity to produce a full-fledged text, otherwise it would be a textbook right away, even if you bring it to the publishing house. Many people read lectures, and this is where you can introduce (and get acquainted with) the latest concepts, dispel persistent misconceptions, and simply present known material in a certain logical system, so that something becomes clearer in many heads. Alas, these new concepts (as well as new information in general) come to the Internet very late, for various reasons. So it turns out that old texts are floating around in virtual space, continuing to multiply long-outdated ideas.

I don’t know if I will be able to post here the entire course on Russian architecture that I am teaching at the Moscow Architectural Institute (the material is too dimensionless for processing), but I will start with one of its most interesting pages - the NARYSHKIN STYLE. I love it very much, although I don’t do it specifically. It turned out that there is still not a single intelligible and comprehensive material on this topic on the Internet.

There are no texts of fundamentally important dissertations by I.L. Buseva-Davydova, N.A. Merzlyutina, L.K. Maciel Sanchez, there are no numerous articles by M.N. Mikishatiev, even long-standing publications by M.A. Ilyina and O.I. Braitseva. Of the high-quality general texts, there is only a review journal article by V.V. Sedov, as well as several articles by I.L. Busevaya-Davydova according to different individual issues architecture of the 17th century. Instead of professional literature but in prominent places hangs something incomprehensible, although clearly written “from the heart.” Wikipedia by this issue also annoys me with all sorts of absurdities, science is not even close there. Well, among other things, there are a lot of outdated biographical articles on the so-called. architects of the Naryshkin style, especially according to Yakov Bukhvostov. And although now we are no longer inclined to consider these figures precisely architects in modern understanding In this profession, it is difficult for us to break established stereotypes. Read more new research, this is the only way to avoid archaisms in your own ideas about the history of art. It changes with every new generation, and that's normal.

I am not proposing a new serious text on the topic here; this is technically not feasible yet (i.e., you just need to write it first), but there will be logically constructed illustrative material. If desired, it will be possible to understand both the general problems and the specifics of the Naryshkin style. I tried to select very clear pictures.

A question about the term and its conventions. As is known, terms are negotiated. This applies primarily to this phenomenon, because all existing options are vulnerable. Firstly, why STYLE? Because the system is integral and recognizable by its set of techniques and details. Tradition is recognized by the stability of type and design, style by recognizable and repeating details. In Naryshkinsky, their selection is exceptionally rich and varied.

Why NARYSHKINSKY?

To be fair, the style could be called the Miloslavsky style or the style of Princess Sophia. But it didn’t work out.

A conversation about the era of change, about the movement of Russian culture of the 17th century towards the West, about Poland and its place in Moscow life of that era.

Architecture on the eve of the Naryshkin style. A certain dead end when the same formulas are repeated many times is the imposition of fractional decor on a standard quadrangle. People are becoming more and more interested in decor, but the constructive basis does not change for a long time, craftsmen and customers stubbornly cling to the old.

The beginning of change. 1681 - Karp Zolotarev travels to Ukraine, with his return to Moscow new constructive types of churches are introduced. In 1681, the first four-petal temple on Presnya was laid, which was not preserved and was not even completed. The beginning of powerful Ukrainian influence in Moscow architecture

The new architecture is patronized by Princess Sophia, and her favorite, Prince Golitsyn, is especially active in all this.

The highest boyars immediately respond to innovations. Early Ukrainizing churches have almost no decoration; they are not even Naryshkin’s in style. But the typology has already been greatly updated.

Another type imported from Ukraine. And he also left his mark on Moscow soil.

On construction Novodevichy Convent(except for the old cathedral, almost everything was erected under Sophia) for the first time in such a variety of forms and motifs they tried out new decoration of the facades. In 1686, peace was concluded with the Polish-Lithuanian Commonwealth (Poland), after which cultural influence Poland's attack on Moscow intensified. The asceticism of early Ukrainizing monuments was replaced by the decorative luxury of European mannerism. He began to penetrate here primarily through the Polish corridor. It is also appropriate to remember that a significant part of the church hierarchs were graduates of the Kiev-Mohyla Academy, so Westernism also came through them (albeit in an Orthodox guise), already within the church.

Here shells appear in the decor, which this architecture will then love very much. IN in this case the shells indicate the regal nature of the building. Despite the fact that the shell motif is common in the decor of European Mannerism, here it apparently has its own local origin - from the shells of the Aleviz Archangel Cathedral in the Kremlin, which was the royal tomb.

This type of building, such as a free-standing bell tower, is also being updated. In the pattern they were tented, then Patriarch Nikon in New Jerusalem built a bell tower in the manner of the Kremlin’s Ivan the Great. And now, further development of the theme of tiered bell towers.

In addition to the Ukrainian-Polish one, another theme of the origin of Naryshkin’s forms arises - Dutch or, more broadly, Dutch. They traded a lot with the Dutch, they were known better than many other foreigners. And it is no coincidence that Peter developed an interest in everything Dutch from his childhood. So Dutch examples will become very important in creating a new architectural language for Muscovy.

The Novodevichy bell tower is not alone. There's a whole line of them.

So, for talking about the beginning of the style, two points are important - the emergence of new space-planning structures from the Ukrainian context and the birth of a new decor through the synthesis of samples also brought from the West (mainly through Ukraine-Poland and Holland). The crossing of both led to the flowering of the style in its the best masterpieces, already at the very beginning of the 1690s. From the defeated Miloslavskys, the initiative to order was intercepted by the Naryshkins, who gave the name to this architecture.

Now that we already have an idea of some important monuments Naryshkin style, it is necessary to move on to a more detailed analysis of the sources of its forms.

In contact with

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 () of St. Petersburg, built in the Western European spirit.

unknown, Public Domain

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.

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.

A number of secular elegant 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.

Andrey, CC BY 2.0

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 peoples close in culture, 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 direction- Naryshkin style.

Peculiarities

The “Naryshkin style” is closely related to pattern making, but this is to some extent its further stage, in which transformed forms appear Western European architecture- orders and their elements, decorative motifs are undoubtedly of Baroque origin.

From architecture XVI V. it is distinguished by a piercing vertical energy that slides along the edges of the walls, throwing out lush waves of patterns.

Simm, CC BY-SA 2.5

Buildings of the “Naryshkin style” are characterized by a mixture of contradictory trends and currents, internal tension, heterogeneity of structure and decorative finishing.

They contain features of European Baroque and Mannerism, echoes of Gothic, Renaissance, Romanticism, merging with the traditions of Russian wooden architecture and ancient Russian stone architecture.

A dual scale is characteristic - one gigantic, vertically directed, and the other miniature and detailed. This feature was embodied in many architectural projects in Moscow throughout the first half of the XVIII V. Many traditions of the Naryshkin style can be found in the projects of I.P. Zarudny (Menshikov Tower), and.

Elements of external decoration of a typically manneristic style were used not to divide and decorate the walls, but to frame the spans and decorate the ribs, as was customary in traditional Russian wooden architecture. The opposite impression is produced by the elements of interior decor. The traditional Russian floral pattern acquires baroque splendor.

The continuous movement characteristic of European Baroque, the dynamics of the transition of stairs from the external to the internal space, was not so clearly embodied in the Naryshkin style. Its stairs are descending rather than ascending, isolating the interior of the buildings from the exterior. They show rather the features of traditional folk wooden architecture.

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 were erected, enriched with new architectural and decorative forms - primarily, elements of the order borrowed from Western European architecture, which marked the trend 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.

The 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.

NVO, CC BY-SA 3.0

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.

Many churches and monasteries were rebuilt in the traditions of the Naryshkin style, which was reflected, in particular, in the ensembles of the Novodevichy and Donskoy monasteries, and the Krutitsky courtyard in Moscow. In 2004, the Novodevichy Convent complex was included in the list of objects World Heritage UNESCO, including, as “an outstanding example of the so-called “Moscow Baroque”” (criterion I), as well as “ outstanding example an exceptionally well-preserved monastery complex, displaying in detail the “Moscow Baroque”, architectural style end of the 17th century." (criterion IV). The monastery has preserved walls and a number of churches built or rebuilt in the Naryshkin style.

In the architecture of St. Petersburg at the beginning of the 18th century. I didn’t get the Naryshkin style further development. However, between Naryshkin’s architecture and Peter’s baroque of St. Petersburg in the first quarter of the 18th century. there is a certain continuity typical examples which are the buildings of the Sukharevskaya Tower (1692-1701) that served for secular needs and the Church of the Archangel Gabriel or the Menshikov Tower (1701-07) in Moscow. The composition of the Menshikov Tower, built by the architect Ivan Zarudny on Chistye Prudy In Moscow, for the closest associate of Peter I, Prince Alexander Menshikov, a traditional scheme was adopted, borrowed from Ukrainian wooden architecture - several tiered octahedrons stacked on top of each other, decreasing towards the top.

It should be noted that the creation of the Naryshkin Baroque architecture, in contrast to Peter the Great’s, was mainly due to Russian masters, which, of course, determined the specific nature of the buildings constructed - they were largely Old Russian in the nature of the building’s design with details borrowed from Western European architecture, As a rule, they were only decorative in nature.

Photo gallery

Helpful information

Naryshkino or Moscow Baroque

Name

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 trend 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".

Quote

“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

Significance for Russian architecture

The Naryshkin style had the greatest impact on the appearance of Moscow, but it also had big influence on the development of all Russian architecture in the 18th century, being a connecting element between the architecture of Moscow and the construction of St. Petersburg. In many ways, it was thanks to the Naryshkin style that the original image of the Russian Baroque was formed, which was especially clearly manifested in its late, Elizabethan period: in the masterpieces of Bartolomeo Rastrelli Jr. features of the Moscow Baroque are combined with elements of Italian architectural fashion of that time, in the external decoration of such Moscow Baroque buildings as the Church of St. Clement (1762-69, architect Pietro Antoni Trezzini or Alexey Evlashev), the Red Gate (1742, architect. Dmitry Ukhtomsky) the features of Naryshkin architecture are also visible, first of all, its characteristic combination of red and white colors in the decoration of the walls.

Later, already in late XIX V. Naryshkin architecture, perceived by many at that time as typical Russian phenomenon, had a certain influence on the formation of the so-called pseudo-Russian style.

Significant Architects

Yakov Bukhvostov
Ivan Zarudny
Peter Potapov
Osip Startsev
Mikhail Choglokov

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 such an important role in 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 is 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 trend with Western European styles, and it is connected with the fact that, stage by stage corresponding to the early revival, the Naryshkin style in terms of form cannot be defined in the categories that have developed on Western European material; it contains features of both Baroque and and Renaissance and Mannerism. In this regard, it is preferable to use the term “Naryshkin style”, which has a long tradition of use in scientific literature.

2. Prerequisites for the emergence

In the 17th century A new phenomenon 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 of secular culture on Russian architecture continued to intensify; some Western European elements also penetrated into it fragmentarily. However, after Russia concluded the Eternal Peace with the Polish-Lithuanian Commonwealth in 1686, this phenomenon acquired greater proportions: 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. The combination of features of different styles and cultures, as well as a certain “rethinking” of them by Russian masters, determined the specific nature of the new architectural direction that emerged - 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.

Buildings built in the Naryshkin style cannot be called truly baroque in the Western European sense. The Naryshkin style at its core - 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 secularly elegant multi-tiered churches made of red brick with some white stone decorative elements were erected (notable 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 XVII c., 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, with spacious open galleries surrounding the church. Currently, the walls of the temple are painted pink, emphasizing the snow-white decorative elements of the building.

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 the European tradition: the main load-bearing element, as in the ancient Russian architectural tradition, remains the walls, which have almost disappeared out of sight among the numerous decorative elements.