Naryshkin Baroque style in Russian architecture. Naryshkinskoe Baroque (Moscow Baroque) Origin of the style

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; a fashion for bright clothes appears; 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. The lower tier originally housed the temple of Joasaph (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 largest monument of the 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.

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 baroque elements appeared. The new style was called Moscow Baroque, since Russian architecture XVII century is significantly different 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 an open gallery encircling the building, which was later closed and decorated with windows with front casings. 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 characteristic 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 added 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 large quantity log cabins connected 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 completion of the architecture of the 17th century. and the beginning of architecture of the 18th century. 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, the success of education, the expansion of ties with the West, and, consequently, the strengthening of the influence of 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: “the marriage in Cana of Galilee” and “The Prodigal Son in the company of charming women.” 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 as portraits. A characteristic feature of multi-figure compositions is the transmission of 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 the 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 the middle of the 18th century. 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.

Naryshkinskoe Baroque Naryshkino Baroque

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

(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)

See what “Naryshkin baroque” is in other dictionaries:

- (Naryshkin style, Moscow Baroque), conventional (after the name of the Naryshkins (see NARYSHKINS)) name of the style direction in Russian architecture of the late. 17 start 18th centuries: secularly elegant multi-tiered churches with an abundance of lush decorative decorations,... ... encyclopedic Dictionary

Russian Baroque Golitsyn Baroque Naryshkin style Peter's Baroque Anninsky Baroque Elizabethan Baroque Catherine's Baroque Sibi ... Wikipedia

Cm … Moscow (encyclopedia)

Construction dictionary

Naryshkinskoe Baroque- (Naryshkin style, Moscow Baroque), conventional (after the Naryshkins' surname) name of the style direction in Russian architecture. 17 start 18th centuries: secularly decorated multi-tiered churches (in Fili and Troitsky Lykov in Moscow) and secular buildings with... ... Architectural Dictionary

"Naryshkin Baroque"- NARYSHKIN BAROQUE See Moscow Baroque... Russian humanitarian encyclopedic dictionary

Naryshkin baroque - … Spelling dictionary of the Russian language

- (Italian barocco, lit. bizarre, strange), one of the dominant styles in European architecture and art of the late 16th and mid-18th centuries. Baroque established itself in an era of intensive formation of nations and national states (mainly... ... Art encyclopedia

Naryshkin style

Naryshkinskoe or Moscow Baroque is a conventional name for a specific style direction in Russian architecture of the late 17th - early 18th 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 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.

Story

This is a phenomenon in the history of Russian architecture that does not even have a clear name: it is known under the names of Naryshkin baroque, Moscow baroque, Naryshkin style, Russian mannerism - and not a single word in any of these definitions is accepted unquestionably by all art historians. Further, researchers cannot agree on whether it is a style, a direction or a regional trend.

The situation is complicated by the fact that there is no universally accepted definition of style. Nevertheless, most scientists agree that we can talk about style if an integral artistic system is formed. And it, firstly, covers different types of art and artistic culture (we are only talking about Naryshkin architecture, but take my word for it, we can also talk about the Naryshkin style in relation to at least icon painting and decorative and applied arts, and possibly literature and music) and forms an artistic unity in them.

Secondly, the style has more or less clear chronological boundaries (the Naryshkin style existed from the 1680s to the 1710s in the Moscow region and somewhat longer in the periphery).

Third and probably main criterion style is that style in its development goes through several stages: origin, development, flourishing and decline. Thus, there are early monuments of the Naryshkin style (the Great Cathedral of the Donskoy Monastery, where the first features of the new style appear: the petal shape of the temple, the arrangement of chapters according to the cardinal points, the floor division of the facade, order elements in the decor), monuments that mark the heyday of the style (as everyone knows the Church of the Intercession in Fili, the Novodevichy Convent or the Spasskaya Church in Ubory) and late Naryshkin monuments (for example, the Church of St. John the Warrior on Yakimanka or the Church of the Deposition of the Robe on Donskoy), where the style is already on the decline, the details become flat, the color becomes inexpressive, elements of other styles appear.

Finally, if a given phenomenon is a style, its features can be used in the monuments of art of subsequent eras. Thus, the Naryshkin baroque experienced a kind of revival in the twentieth century (its features can be seen, for example, in the building of the Leninigradskaya hotel, where tiered construction, turrets and torn pediments are used; the decor of the Komsomolskaya-Koltsevaya metro station and, of course, the Kazansky railway station) .

Name

There is debate among art historians about what is the correct name for the architectural trend known as the “Naryshkin style.” Moreover, researchers cannot agree on whether it is a style, a direction or a regional trend.

The situation is complicated by the fact that there is no universally accepted definition of style. Nevertheless
Most scientists agree that we can talk about style if an integral artistic system is formed. And it embraces different types of art and forms artistic unity in them.

The situation is complicated by the fact that there is no universally accepted definition of style. Nevertheless, most scientists agree that we can talk about style if an integral artistic system is formed. And it covers different types of art and forms an artistic unity in them (in this work we will talk about Naryshkin architecture, but some researchers argue that “the Naryshkin style can also be spoken of in relation to icon painting and decorative and applied arts, and perhaps to literature and music"1).

Another and probably the main criterion of style is that style goes through several stages in its development: origin, development, flourishing and decline. Thus, there are early monuments of the Naryshkin style (the Great Cathedral of the Donskoy Monastery, where the first features of the new style appear: the petal shape of the temple, the arrangement of chapters according to the cardinal points, the floor division of the facade, order elements in the decor), monuments that mark the heyday of the style (such as the famous church Intercession in Fili, Novodevichy Convent or Spasskaya Church in Ubory) and late Naryshkin monuments (for example, the Church of St. John the Warrior on Yakimanka or the Church of the Deposition of the Robe on Donskoy), where the style is already on the decline, the details become flat, the color becomes inexpressive, elements of other styles appear.

So, after analyzing the main characteristics, we can conclude that Naryshkin Baroque is still a style. 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 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 Renaissance and Mannerism. That is why, traditionally, the term “Naryshkin style” is used.

The next question that rightfully arises when studying this style is: why “Naryshkinsky”? The Naryshkins are an ancient boyar family, known since the mid-15th century. But they were not the only and not the first customers of the style. They begin to build their temples after the victory over the Miloslavskys in order to emphasize their power and the fact that they love new trends (and the first Naryshkin buildings are built by the Miloslavskys: Sophia, for example, begins construction of the Novodevichy Convent).

Maybe then it would be more correct to call the style Moscow Baroque? But, firstly, the Moscow baroque is Anninsky, Elizabethan, partly Peter the Great baroque, and the Naryshkin style is a fundamentally different phenomenon. Secondly, the Naryshkin monuments are not only Moscow, they are also the Assumption Cathedral in Ryazan and the Solotchinsky Monastery in its vicinity, the Sretenskaya Gate Church of the Svensky Monastery in Bryansk, and a number of monuments in the Smolensk region.

The name “Naryshskinsky” was finally assigned to the style after close study in the 1920s. Church of the Intercession, built in the late 17th century. Naryshkin Filyakh.

The 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.

Well-being and cheerfulness are reflected in architecture and household items: ornaments appear depicting paradise; houses are beginning to be decorated with purely decorative details that do not serve an engineering function; a fashion for bright clothes appears; houses also began to be painted brightly.

Cities grow, they change architectural appearance. A desire for regularity appears; the increase in urban area encourages the construction of taller bell towers and other vertical silhouettes. The growth of parishes makes it necessary to build more spacious churches, and the requirements for the quality of lighting are increasing. The interiors of churches are losing their isolation and detachment from the world.

People's horizons are expanding, secularism and the principles of rationalism are increasingly penetrating religious architecture, combined with festive decorativeness.

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 brought from ships; the figure of eight 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 get acquainted with Western architecture and begin to penetrate into the essence of the order system (this does not mean that they travel themselves; they, for example, get the opportunity to get acquainted with the architectural manuals they brought).

At the same time, interest in exact sciences: astronomy, astrology, alchemy. Travel leads to the development of geography, cartography, mathematics, physics, etc. The love of the stars led to the emergence of vertical lines.

Another prerequisite is the development of construction technology, improving the quality of wall masonry, which made it possible to increase the size of the premises, make the walls thinner, the partitions narrower, the windows larger and of various shapes. Brick became a common material, cheaper than stone and allowing the construction of more diverse structures.

A new phenomenon appeared in Russian art and culture at this time - their secularization, expressed in the spread of secular scientific knowledge, a departure from religious canons, in particular, in architecture.

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 townspeople became customers for the construction of churches, which played a role 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. 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 culturally similar, Orthodox Ukrainian and Belarusian peoples, and part of the culture, including purely national elements, was borrowed from them. The combination of the features of various styles and cultures, as well as a certain “rethinking” of them by Russian masters, determined the specific nature of the new emerging architectural movement - the Naryshkin style.

Peculiarities

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. Such monuments are characterized by oval or polygonal, that is, polygonal, windows.

So, the Naryshkin baroque is characterized by centricity, tieredness, symmetry, balance of masses, known separately and earlier and formed here into an integral system, supplemented by order details. His typical buildings are churches in estates near Moscow, tiered, on a basement, with galleries.

Naryshkino baroque is, as a rule, a contrast of two tones: a red-brick background and a white-stone pattern, but it is impossible to say with certainty what color they originally had: for example, the first colorful layer of the Church of the Resurrection in Kadashi turned out to be yellow-blue.

The Naryshkin style is also characterized by the use of polychrome tiles and gilded wooden carvings in interiors that follow the traditions of “Russian patterns” and “grass ornaments”.

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. For example, in the Church of the Intercession in Ubory, a grandiose seven-tiered iconostasis was created - a unique baroque creation. But, unfortunately, during the years of Soviet power the masterpiece was lost.

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. 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 gems, 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.

“R.B. Vipper notes that the style is also characterized by a duality of scale: one grandiose, monumental, the other miniature, patterned, detailed”2.

Naryshkinsky Temple in general outline retained the shape of the old townsman's temple, and a decor devoid of any constructive meaning was superimposed on it. All these columns, pediments, brackets, etc. and so on. You can brush it off the wall like chalk from a blackboard, and the structure of the building will not suffer at all. What are they for then? And they carry, limit, cover, etc. and so on. visually.

So, summing up all of the above, it is necessary to once again note the main features of the Naryshkin style. His buildings are characterized by symmetry of composition, logical mass ratios and the 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. This growth of the rational principle was clearly reflected in the trend of transition from medieval orderless to consistently ordered architecture.

Significant Architects

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 creativity of Yakov Bukhvostov, a serf peasant from the Moscow region, a nugget architect. 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 carries 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. 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 master, Ivan Zarudny, was born on the territory modern Ukraine, which was then part of the Polish-Lithuanian Commonwealth. From 1701, he was in the royal service in Moscow, where he created a number of buildings, which were characterized by the processing of the Naryshkin style in the spirit of the traditions of European architecture of that time. In 1701-07. By order of Alexander Menshikov, Zarudny built his most famous creation - the Church of the Archangel Gabriel (Menshikov Tower) near Chistye Prudy. The building was crowned with a high spire ending with a copper figure of the Archangel Gabriel, but in 1723, as a result of a lightning strike, the church burned down, and after restoration it lost its upper tier and spire.

Also working in the Naryshkin Baroque style were Pyotr Potapov (Church of the Assumption Holy Mother of God on Pokrovka), Mikhail Choglokov (Sukharevskaya Tower), Osip Startsev.

Monuments of the “Naryshkin” style

First of all, we should consider the most famous monument of the Naryshkin style - the Church of the Intercession in Fili.

The Church of the Intercession in Fili, located in the west of Moscow, was built at the very beginning of the 1690s in the country estate of the boyar Lev Kirillovich Naryshkin. Filevsky Church, which combines the lower (warm) Church of the Intercession and the upper (cold) Church of the Savior Not Made by Hands, is recognized masterpiece Naryshkin style. Artistic merits The monument, as well as the unique preservation of the original interiors of the upper Church of the Savior Not Made by Hands, in the iconostasis of which there are icons of Karp Zolotarev and Kirill Ulanov, make it an outstanding work of Russian art of the early Peter the Great era.

The first wooden Church of the Intercession in Fili with the chapel of the Conception of St. Anne, according to documentary evidence, was built in 1619. Filevsky lands at that time were owned by Prince F.I. Mstislavsky. The dedication of the temple to the Feast of the Intercession is associated with important event Time of Troubles. On October 1 (old style), 1618, the troops of the Polish prince Vladislav and hetman Sagaidachny stormed the walls White City Moscow, recaptured by Russian troops. This event put an end to the turmoil and ruin of the Moscow state. Muscovites saw the victory over the army of Prince Vladislav as a sign of the special patronage of the Mother of God. In memory of this event, several Intercession churches were erected, including in Rubtsov, Izmailovo and Medvedkovo. The Filevsky temple also falls into this series.

In 1689, the village of Fili was granted to boyar Lev Kirillovich Naryshkin, the maternal uncle of Tsar Peter I. Having bought neighboring Kuntsevo to Fili, the new owner began intensively organizing his possessions. He built boyar mansions topped with a clock tower, laid out an extensive park with ponds and a garden, created various services, and a stable yard. On the site of the old wooden church, Lev Kirillovich erects the majestic Church of the Intercession of the Virgin Mary - a classic monument of the Naryshkin baroque.

Tradition connects its construction with the events of the Streletsky revolt of 1682, during which Ivan and Afanasy Naryshkin died at the hands of the Streltsy. Their younger brother Lev Kirillovich, hidden by Tsarina Natalya Kirillovna in the passages on the women's side, prayed before the image of the Savior Not Made by Hands and vowed to erect a temple with this dedication after being delivered from death. Seven years later, having received the Filevo lands, Lev Kirillovich fulfills his promise and lays the foundation for a new stone temple.

Exact construction dates stone temple unknown. All documents were lost in a big fire that occurred in Fili in 1712. Obviously, work began on next year after Lev Kirillovich received his estate. "A number of evidence has been preserved about the decoration of the interior of the upper church in 1693-1694. Thus, it can be assumed that the main work was carried out in 1690-1693. The construction of a stone church on the territory of the estate at the end of the 17th century was an important event for the owner. The church immediately "They became the main dominant feature, the face of the estate. The Naryshkin style was the best suited for such buildings, emphasizing the special significance of the house temple"3. The representativeness, elegance, and solemnity of the Naryshkin churches were intended to express the noble origin and birth of the feudal lord, and to emphasize his wealth.

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 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. The measured rhythm of the gallery arches with widely and picturesquely spread staircases emphasizes the effect of the upward movement of architectural masses. Currently, the walls of the temple are painted in pink color, emphasizing the snow-white decorative elements of the building.

It remains a mystery what color the church originally had. Perhaps it was painted with an asp to imitate marble, like the Trinity Church in Trinity Lykovo, erected in the same years younger brother Filevsky owner Martemyan Kirillovich Naryshkin. This monument has much in common with the Church of the Intercession in Fili, in particular the open nine-sided staircases. The earliest painting of the Filevo church in blue, discovered during restoration, dates back to the middle of the 18th century. Over the next century, the church was painted yellow and red.

Over the three centuries of its existence, the Filevsky temple was repeatedly renovated. “An important archival find was the measurement drawings of the church from the late 18th century with the caption “Syman under the supervision of Archite Kazakov.” They were rebuilt and received ramps on both sides with parapets from the lower platform. Probably, the drawings were made between 1775 and 1782 for some restoration work, led by M.F. Kazakov. In the upper church, window sills made of artificial marble, often found in the master’s buildings, are still preserved."4 During the Patriotic War of 1812, the Filevsky temple was destroyed by the French. The Great War caused enormous damage to the temple Patriotic War 1941-1945, all the chapters and crosses, as well as the upper drum (the third eight-piece), were lost. The original appearance of the temple was recreated as a result of restoration work, which continued intermittently from 1955 to 1980. Restorers E.V. played a major role in saving the monument. Mikhailovsky and I.V. Ilyenko.

The red brick and white stone of the facades, the ingenious design system of a tiered building directed upward, openwork crosses above the shining domes - all this gives the church a fabulous lightness and intricacy of a “tower” with a tower-like stepped silhouette. This masterpiece, in fact, embodies all the features characteristic of the Naryshkin baroque. And the symmetrical composition of the buildings, and the rich carved pediments that complete individual volumes, and large door and window openings, and open main staircases, and finally, the grace and picturesqueness of the white stone decoration on a red background.

One of the early monuments of the Naryshkin style is the Novodevichy Convent.

The architectural ensemble of the Novodevichy Convent, which began to take shape in the first half of the 16th century, was largely completed by the end of the 17th century. It has survived to this day almost unchanged. The ensemble is distinguished by its integrity and authenticity: it has not undergone reconstruction or reconstructive intervention, there are no recreated objects here, only restoration and conservation work is being carried out.

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.

The refectory (1685-1687) was built by Sophia as a room for communal meals and as a reception hall. It is covered with a mirror vault, like the Cross Chamber of the Kremlin, and exceeds it in size. The white stone cornice is unusually ornate, from which white consoles seem to hang, alternating with intricate window frames.

The Assumption Church (1686) is one with the refectory and is made of brick, with details made of white stone. Particularly interesting are the windows with fancy and powerful platbands.

The 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. The lower tier originally housed the temple of Joasaph. In the second, the Church of St. John the Evangelist is built, 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. One of the circles marks the site of the lost dial. In the 17th century, clocks were generally placed wherever possible (then close to modern concept about time, about minutes; awareness of the state as a clockwork mechanism). The fifth tier is for “small ringing” bells. The architecture of the fifth and sixth tiers and the exquisite onion dome differ from the architecture lower tiers, the author of which is presumably Osip Startsev. The reduction of octagons upward, the alternation of blind volumes with through ones, and the emphasized stability of the base give the bell tower expressiveness and compositional completeness. The 72-meter vertical unit united all the monastery buildings into one. When approaching from the eastern side, it appears in the middle of the wall between the two towers of the fence, strengthening the main compositional axis of the monastery.

It is interesting that the Church of the Archangel Michael in Troparevo (circa 1693) is similar to the temples of the Novodevichy Convent - this is an original attempt to apply the techniques and forms of the Naryshkin style to ordinary rural church to give it solemnity.

It is noteworthy that the Novodevichy Convent is the only example of an ensemble embodiment of the Naryshkin style.

In 2004, the Novodevichy Convent complex was included in the UNESCO World Heritage List, including as “an outstanding example of the so-called “Moscow Baroque”” (criterion I), and also as “ outstanding example an exceptionally well-preserved monastery complex, displaying in detail the “Moscow Baroque” architectural style of the late 17th century.” (criterion IV)5.

The difficult fate of the creation of the 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 of a stone temple in 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 festivity, instilling a feeling of joy and harmony. Raised to the top of a gentle hill, surrounded by a circle of slender birches and pines, the monument reigned over the area. “I remember how we once approached Ubory in 1889,” Count S. D. Sheremetev wrote in his memoirs. “It was the eve of Peter’s Day, the evening was warm and quiet. From a distance we could hear a drawn-out gospel message... We entered this church "6

You should also pay attention to a non-Moscow example of the style in question. The Assumption Cathedral in Ryazan is an example of a Naryshkin temple of an atypical form.

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 largest monument of the 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 diagram of a five-domed cathedral. The temple stands on a basement with an open walkway and one 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. Graceful window frames stand out against the background of a red brick wall; they decrease upward and gradually disappear into the mass of the wall. In the first tier, the completions of the platbands appear as a continuous patterned spot, in the second they acquire the character of a wide ornamental frame, in the third they turn into a small decorative completion.

Despite the massiveness of the main volume, the architect gave the temple a vertical orientation and introduced elements of secular palace architecture into its appearance.

The construction of this temple began under Theodore and Sophia, dates back to 1696, the altar was rebuilt in early XIX century.

In plan it is an octagon on a quadrangle, completed by a chapter on two blind octagons. The four is a symbol of power, the eight is a reminder of the lighthouse (the temple is a beacon for the believer, who must know where to go to pray). The rounded corners of the quadrangle are processed with bunches of semi-columns. On the octagon, the semi-columns are decorated with capitals in the form of white stone balls with small crosses. The broken pediment at the bottom emphasizes the power of the building, while at the top it becomes lighter. The windows are framed by pilasters, which give dynamics and upward direction. The attic above the cornice is decorated with tiles. Tiles with seraphs (possibly the work of Stepan Polubes) imitate marble.

The theatricality and mannerism of the style are clearly evident here: a cornice (even two) that does not cover anything, brackets that do not hold anything, columns that end in an unclear place, etc. The decor is distinguished by fine, refined modeling of details. In the 17th century, acquaintance with China began, and Chinese motifs can be seen in the roof, reminiscent of the shape of a pagoda.

Doctor historical sciences V. DARKEVICH

It is worth thinking about why, in times of crises and breakdowns, during periods of borderline situations in the life of the people, on the eve of global changes, there is (though not always) a short-lived flowering of all types of artistic creativity. 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 foundations 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. For a long time, Moscow will preserve the traditions of the ancient Russian architectural genius.

AT THE TURN OF THE CENTURIES

The Church of the Intercession in Fili (1693) embodied all the features characteristic of the Naryshkin Baroque (Moscow).

The wide staircases of the Church of the Intercession in Fili lead to the walkway, from where you can enter the “cold” church, crowned with domes.

Church of the Savior in Ubory (1694-1697).

The staircase to the doors of the Church of the Savior in Ubory leads to the parapet-promenade. The white stone inserts are decorated with an abundant pattern of leaves and fruits.

The Trinity Church in Troitsky-Lykovo, built in 1698-1703, stands on the steep right bank of the Moscow River, opposite Serebryany Bor.

The upper tiers of the church in Trinity-Lykovo.

The white stone decoration of the Trinity Church is rich and varied.

The white stone Znamenskaya Church in Dubrovitsy near Podolsk (1690-1704) is the most mysterious monument of Russian architecture of the early 18th century.

Science and life // Illustrations

Church in Dubrovitsy. A portal flanked by statues of saints. The picture above shows the sculpture and the rich decor of the cornice.

Church of the Archangel Gabriel, called the "Menshikov Tower" (1704-1707).

At the turn of the 17th-18th centuries, the decline of ancient Russian civilization in artistic creativity occurred. Western influences are growing in Moscow and surrounding lands. They go largely through Ukraine, which in turn received the cultural influences of Poland and East Prussia. Young Peter is conceiving plans for rapprochement with the technically advanced states of the West, expanding diplomatic and trade contacts. A. S. Pushkin spoke brilliantly about this in Poltava:

There was that troubled time
When Russia is young,
Straining strength in struggles,
She dated the genius of Peter.

The church principle is being diminished, and the foundations of a new, secular culture are being laid in Russia. Lush Baroque (presumably from the Portuguese perola barroca - a pearl of a bizarre shape) comes to church and palace architecture - a style that has dominated in Europe since the end of the 16th century. The influence of Western European Baroque is primarily reflected in the popularity of rounded volumes and interest in centric plans. Temples begin to be decorated with ornaments hitherto unseen in Rus'.

NARYSHKIN BAROQUE, BORN IN RUSSIA

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

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

Transitional times break or transform the usual canons. According to academician A. M. Panchenko, “The era of Peter the Great, which inscribed the slogan of usefulness on its banner, intolerant of reflection, contemplation and theology, is, in essence, the era of dreamers.” And then, quite rightly, the author notes: “The era of Peter the Great is an era of deep cultural stratification and, accordingly, cultural “bilingualism.” “Peter’s creation” on the banks of the Neva is increasingly moving away from the building traditions of Moscow Rus'. And “secularization” was almost not instilled in the peasant masses.

Yakov Bukhvostov, a serf from the Moscow region and a genius architect, should rightly be considered the most talented embodiment of the ideas of the Naryshkin baroque. Extremely gifted and possessed of a rich imagination, he undoubtedly belonged to the number of “dreamers”, although turned to the past, but by no means alien modern trends. In his creations, Bukhvostov reflected not only divine revelations, but also his attachment to everything that exists, to earthly fruit-bearing nature. As a Baroque man, he probably tried to reconcile mystical impulses and hedonism (pleasure), putting forward the principle of a “double life”, as far as this was achievable in that transitional era. But the spiritual joy of the innovative architect, who seemed to inhabit two worlds - earthly and heavenly, could not help but be reflected in his work. And today it is difficult to tear yourself away from contemplating the Church of the Intercession in Fili, perhaps the best creation Bukhvostova. Not far from the Fili metro station in Moscow, a slender “tower” suddenly appears in front of you, surprising with the thoughtfulness of its upward proportions and shining with golden fancy domes.

CHURCH OF THE INTEGRATION IN FILI

Boyar Lev Kirillovich Naryshkin, brother of Natalya Kirillovna Naryshkina, Peter’s mother, was rich and proud. The king's uncle was surrounded by honor and respect. During the Streltsy riot, he miraculously escaped. At the age of 26 he became a boyar. During his first trip abroad, the tsar entrusted state affairs to the Duma of his closest people, in which Lev Kirillovich occupied a prominent place: he was a member of the Council that governs the state. And in 1698-1702, Naryshkin headed the Ambassadorial Prikaz.

In 1689, Peter granted his uncle many estates and lands, among them the Kuntsevo estate with the palace village of Khvili (along the Khvilka River, now Fili). In the 1690s, Naryshkin, having bought neighboring Kuntsevo to Fili, began intensively organizing his possessions. He built boyar mansions topped with a clock tower, laid out an extensive park with ponds and a garden, created various services, and a stable yard. On the site of the ancient wooden church, Lev Kirillovich erects the majestic Church of the Intercession of the Virgin Mary - a classic monument of the Naryshkin baroque. Direct indications of Bukhvostov’s authorship were not found here, but temples similar in style, built by the architect somewhat later, have such indications.

Both Tsarina Natalya Kirillovna and the young Tsar Peter gave money for the construction of the Filevo church. According to legend, Peter visited Fili several times and even often sang in the choir of the Intercession Church. It belongs to the ancient type of church of the 17th century “similar to bells,” that is, it combines a bell tower and a church. The quadrangle with adjacent semicircular porches, crowned with gilded cupolas on slender drums, rises on a high basement and is surrounded by a gallery-promenade. The measured rhythm of the gallery arches with widely and picturesquely spread staircases emphasizes the effect of the upward movement of architectural masses. The church is two-story. Its wide staircases lead to the walkway, from where you find yourself in a “cold” church topped with domes. Above the main quadrangle, two octagons and an octagonal head drum are located in succession. The arrangement of an octagon on a quadrangle has long been used in Russian wooden architecture, and then in stone. In the basement is the winter (that is, heated) Church of the Intercession of the Virgin Mary, and above it is the Church of the Savior Not Made by Hands. The dedication of the temple to the Savior was rumored to be connected with the fact that during the Streltsy riot of 1682, Lev Kirillovich, hiding in the queen’s chambers, prayed before the image of the Savior Not Made by Hands, to whose mercy he attributed his deliverance from death.

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.

FANTASIES OF YAKOV BUKHVOSTOV

The heyday of the Naryshkin, or Moscow, baroque occurred in the 1690s and the very beginning of the 18th century. These same years are the best time of 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. The difficult fate of 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 here (hence the name of the village - “At the Forest”), the Uborka River flowed into the Moscow River, and along the old road from Moscow to Zvenigorod the Moscow 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 of a stone temple in 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.

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. “I remember how we once approached Ubory in 1889,” Count S. D. Sheremetev wrote in his memoirs. “It was the eve of Peter’s Day, the evening was warm and quiet. From a distance we could hear a drawn-out gospel message... We entered this church ", crowded with worshipers. Slender peasant singing was heard under the high arches of the temple. The deacon, an ancient old man, clearly and expressively read out petitions. The majestic iconostasis struck me with the severity and completeness of the decoration. The lamp burned brightly near the local icon of the Savior. The breath of Old Russia was upon us."

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 resorted 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 vestibules built here, topped with domes on octagonal bases.

How could a brilliant architect, dependent on the whims of noble customers ("Yakunka", "Yanka", who barely escaped corporal punishment), create in such a short period of time such monumental works as the Assumption Cathedral in Ryazan, the walls and towers of the New Jerusalem Monastery with a tiered gate The Church of the Entrance to Jerusalem, as well as the three temples that served as the basis for this article? Obviously, among his assistants there were brilliant artists who made an invaluable contribution to the creation of this or that building. But the talent of the chief master, the priority of his main ideas remained decisive.

At the end of the 17th - beginning of the 18th century, Naryshkin baroque found many admirers. Centric, or three-part, 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 decorative art. 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 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.