Naryshkinsky baroque building. Naryshkin style: wiki: Facts about Russia

The very concept of “Naryshkin or Moscow baroque” is rather arbitrary. Despite the fact that there is no generally accepted architectural style with this name, experts understand perfectly well what we are talking about. This style manifested itself most clearly in the thirty-year period from the late 17th to the early 18th centuries, and it affected not only the Moscow region, but also the periphery very remote from the center. Subsequently, the Naryshkin baroque experienced a period of revival already in the 20th century, in particular, elements characteristic of this style can be found in the design of the Komsomolskaya ring station of the Moscow metro, the Leningradskaya hotel building, and in the architecture and decorative design of the Kazansky railway station building.

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

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

1. Painting of Kievan Rus 11th century.

a number of fine arts Kievan Rus first place belongs to monumental painting - mosaics and frescoes. Russian masters adopted the system of painting a religious building, as well as the type of building itself, from the Byzantines. But, as in architecture, the processing of Byzantine t began early in Russian painting. Mosaics and frescoes of the Kyiv Sophia allow us to imagine the system of painting a medieval temple that has come down to us, although not entirely, but also in its present form, striking in its grandeur. The paintings not only serve as decoration for the vaults and walls of the cathedral, but also embody the ideas embedded in the architectural design as a whole. The painters clothed the metaphysical ideas of the Christian religion in human images, creating the impression that “God abides with people,” as the ambassadors of Prince Vladimir who visited Sofia of Constantinople once wrote. Painting was supposed, as in all medieval churches, to express the connection between the heavenly, the heavenly, and the earthly. The main parts of the interior were decorated with mosaics made by Greek masters and their Russian students: the space under the dome and the altar. In the dome, surrounded by four archangels - the guardians of the throne of the Most High - Christ the Pantocrator (in Greek Pantocrator) is depicted. In the piers between the 12 windows of the drum there are figures of the 12 apostles, in the sails supporting the dome - evangelists, on the girth arches in medallions - “40 Martyrs of Sebaste”. Traditions. Pagan folk art influenced the composition of the techniques of ancient Russian painting.

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 the only way 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.

During the construction of the Novodevichy Convent (where, apart from the old cathedral, almost everything was built under Sophia), for the first time, new facade decoration was tested in such a variety of forms and motifs. In 1686, peace was concluded with the Polish-Lithuanian Commonwealth (Poland), after which Poland's cultural influence on Moscow increased. 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 so, further development themes 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.

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 fundamentals of Russian creative consciousness Moscow architecture, transforming, clearly dominates, remaining (but not in St. Petersburg under construction) a typically national phenomenon. There is a predominance of Russian tastes and traditions in the polychrome and diversity of even sacred buildings. More for a long time Moscow will preserve the traditions of the ancient Russian architectural genius.

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 early XVIII 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. In Moscow and surrounding lands they are intensifying Western influences. 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'.

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

Neither in the earlier Old Russian nor in Western European architecture There are no close parallels to this style. It organically merged the features of Moscow architecture, which, first of all, was alien to the overload of lush volumetric stucco molding and sculpture of the Western Baroque. On the contrary, there was a desire for openwork lightness of buildings. At the same time, the passion in architecture for the upward-moving masses and the eloquence of the silhouette was not diminished in any way. Naryshkino Baroque is, above all, a contrast of two tones: a red brick background and a white stone pattern. Such monuments are characterized by oval or polygonal, that is, polygonal, windows.

Instead of the clarity and conciseness of pre-Petrine architecture, the estate churches of the Naryshkin Baroque demonstrate the complexity of the plan and increased decorativeness. This is revealed in the baroque solemnity of painted, high-relief wood carvings and gilded boxes, iconostases, and pulpits. For example, in the Church of the Intercession in Ubory, a grandiose seven-tiered iconostasis was created - a unique baroque creation. But, unfortunately, over the years Soviet power the masterpiece died.

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.

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 refers to ancient type a 17th-century temple “like the 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 enter the “cold” church, crowned 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 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.

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

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

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

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

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

From the time of its construction, it amazed everyone who came with its splendor, festivity, and instilled an unearthly feeling of joy. Raised to the top of a gentle hill, surrounded by a circle of slender birches and pines, the monument reigned over the area. “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 resorts to exquisite proportions and carefully crafted exterior and interior decoration. Fine ornamental carving reaches its climax. One of the modern scientists compared the temple to a jewel strewn with beads, covered with gold threads, sparkling and shimmering in the rays of the sun. There are not three, but two porches built here, topped with domes on octagonal bases.

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

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

Naryshkin Baroque is an absolutely original, unique national-Russian phenomenon. It is complex in nature and has no analogues among world architectural styles. "Naryshkinsky buildings" are perhaps the most striking phenomenon of Russian architecture of the late 17th - early 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.

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 Troyekurovs and Averky Kirillov.

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

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"Naryshkin Baroque" in books

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