On the Borodino-2012 website I read an article about the ancient Russian necropolis in Mozhaisk. I was amazed at the sight of the tombstone slabs, which reminded me of ancient Roman tombstones, one of which is, for example, in the Hermitage. Ancient Russian tombstones, as we see, are too reminiscent of the times of the Etruscans: the same huge high slabs on legs. This is how the picture is drawn: an ancient descendant knelt near the grave of his glorious ancestor. Previously, the Etruscans did not place slabs vertically, as they do now in cemeteries, but laid a heavy slab (like a chest the size of a grave) flat.
Old Russian tombstones preserved in Mozhaisk are unique! And I was shocked that I knew nothing about it; and those who know cannot save these Russian treasures. And all because the current government behaves like OCCUPIERS on Russian Land.
Vladimir Soloukhin said this well:
“Only the occupiers, having captured the country, immediately begin to rename everything. ...All of these were dead, mortified churches, tattered, blackened, with iron lifted up on the roof, with fallen crosses, soiled on all sides and inside with human excrement. And yet the beauty in connection with the terrain amazed us.
No,” Kirill fumed, “no matter what they say, cultured, educated people (whether from Kazan University or from another university) could not cause such devastation and ruin throughout the country. They are not cultured people, but barbarians, half-educated, half-witted, ignorant, and, moreover, full of the most petty and vindictive malice. Criminals who seized power. Well, tell me, isn’t banditry the destruction of beauty? The beauty of the earth, its general appearance. But it wasn’t them who set it up...”
Ill. 06. Old Russian tombstone on the territory of the Mozhaisky Luzhetsky Monastery. The foundation for some kind of building was laid from these huge ancient slabs! It reminded me of the ancient Egyptian pyramids, which were dismantled by some pharaoh from a new dynasty to build a protective wall.
Ill. 08. Are these really Russian runes? My God, what an oldie!
Ill. 01. Ancient Russian tombstones of the Mozhaisk Luzhetsky Monastery.
I quote this article by Mozhaisk local historian V.A. Kukovenko. Lord, protect Your people and Your land!
_______ ________
Help save the Mozhaisk necropolis!
Posted on 04/03/2012 by admin
We are publishing a letter from Mozhaisk local historian V.I. Kukovenko about saving the necropolis of the Mozhaisk Luzhetsky Monastery.
To the Minister of Culture of the Russian Federation
Avdeev Alexander Alekseevich
Director of the Institute of Archeology of the Russian Academy of Sciences
Makarov Nikolai Andreevich
The Mozhaisk Luzhetsky Monastery, which was founded in 1408 by the Monk Ferapont, a disciple of Sergius of Radonezh, became the burial place of the most noble and most titled persons, first of the Mozhaisk principality, then simply of the district. It was an honor to rest next to the Mozhaisk saint, but the territory of the monastery was too small, so only a select few were buried here.
Some information has been preserved in the “Moscow Necropolis”*. It was from there that I wrote down about two dozen names of Mozhaisk nobles buried on the territory of the Luzhetsky Monastery. Basically, these were representatives of the Savelov family, whose family crypt was located in the lower part of the monastery bell tower, in the so-called “bell tent”.
* “Moscow Necropolis” - a reference publication (vol. 1-3, St. Petersburg, 1907-08) about persons who lived in the XIV-XIX centuries. and buried in Moscow cemeteries. Compiled by bibliographer and literary historian V.I. Saitov and archivist B.L. Modzalevsky. For the “Moscow Necropolis,” a census of about 30 thousand tombstones was carried out in 1904–06 in 25 Moscow monasteries, in 13 city cemeteries, some graveyards in the suburbs of Moscow and in the Trinity-Sergius Lavra. Last names (in the general alphabet), first names, patronymics, dates of life and death, ranks, titles, and the name of the cemetery in which the person is buried are given.
In the 90s of the last century, thanks to the efforts of several abbots of the Luzhetsky Monastery, the surviving tombstones were placed throughout the monastery, giving the cemetery, although not its original, but still an appropriate appearance.
After the restoration of the monastery necropolis, a very important problem for the history of the city emerged - the deciphering of epitaphs in order to compile a list of people buried here. Judging by appearance and the decoration of the tombstones shown in the photograph, it can be assumed that all of them were made no earlier than the 18th century. But information about the nobles of this century would be useful for the development of local history.
Let me briefly say that the lists of nobles of the Mozhaisk district are known most fully only from mid-19th century. All previous centuries in this regard are blank spots in our history. Therefore, inscriptions from tombstones could significantly supplement our information about the noble families living in the district. This would be an invaluable gift not only to local history, but also to the whole national history.
Temples and chapels of the monastery:
1. Cathedral of the Nativity Holy Mother of God
2. Church of the Entry of the Blessed Virgin Mary into the Temple
3. Church of the Transfiguration (gateway)
4. Bell tower
5. Church of St. Feraponta (foundation)
6. Holy spring
Other buildings of the monastery:
7. Cell building (XVII-XIX centuries)
8. Monastery building
9. Monastery building
10. Abbot's corps (XIX century)
11. Necropolis
12. Entrance (eastern) gate (XVIII century)
13. Walls and towers of the fence (XVIII-XIX centuries)
14. Gate of the utility yard (XVIII-XXI centuries)
Some time after the restoration of the necropolis, another unexpected discovery was made.
In 1997, when clearing the foundations of the Ferapontov Temple (in old documents it is called the Church of St. John Climacus), a place of “spuda” was discovered, i.e. burial of the Monk Ferapont. On May 26, 1999, with the blessing of Metropolitan Juvenaly of Krutitsky and Kolomna, the relics of the saint were opened and transferred to the restored temple of the gate church of the Transfiguration of the Lord. Then they were transferred to the Cathedral of the Nativity of the Blessed Virgin Mary, where they are kept in a shrine.
The cleared foundation of the destroyed church immediately attracted the closest attention, since it was made up of nothing but gravestones! Moreover, such slabs, the antiquity of which was obvious even to a non-specialist. Some of them were so archaic that the inscriptions on them were not carved, but scratched into the stone.
The foundations are made up of several rows of slabs: approximately 6-8.
Judging by the ornament, this slab dates back to the 16th century.
This is a massive slab from the 18th century. Who was lying under her?
One of the most interesting slabs, lying in the top row. Is it really the 15th century?
What could be lurking even lower?
And although the foundations of the Ferapont church are not deep (no more than 1.2-1.5 m), taking into account the entire perimeter, one can expect that there are several hundred slabs lying here. Moreover, the slabs are not only from the 18th century, but also from older ones. It is possible that the beginning of the 15th century, i.e. the first decades of the monastery's existence. Deciphering such a number of tombstone inscriptions could enrich our entire history and, perhaps, allow us to make sensational discoveries.
An unusual combination of circumstances - first the construction of this church on a foundation of tombstones, and then the destruction of this church - provided the domestic historical science An extraordinary opportunity to study unique artifacts in large quantities.
To get an idea of how important it is to study such finds, I will give a short reference about Russian medieval tombstones.
Study of white stone medieval tombstones of Moscow Rus'.
Study of white stone tombstones of Moscow and North-Eastern Rus' of the XIII - XVII centuries. has its own history.
Until the beginning of the twentieth century, their study was limited to the collection and publication of inscriptions. The first work in which an attempt was made to consider the medieval tombstone of Moscow Rus' as an independent type of artifact with its inherent typological features was the collection of tombstones of the Historical Museum, published in the “Reports” of the museum for 1906 and 1911.
In the post-revolutionary period, the study of tombstones for a long time remained the domain of archaeologists and epigraphic specialists. A new stage of research was the works of famous scientists in the field of epigraphy T.V. Nikolaeva and V.B. Girshberg, which appeared in the late 1950s and 60s.
The need and implementation of a directed search tombstones, especially the early ones, dating back to the 13th - 15th centuries, and partly to the beginning of the 16th century, contributed to the active “accumulation” from the late 1960s to the early 1990s. a significant number of tombstones and a gradual awareness of the significance of their research for the history of Russian culture of the late Middle Ages.
In the last two decades, interest in the tombstone has increased dramatically due to the extremely widespread use of archaeological excavations and restoration of architectural monuments, primarily in Moscow and the Moscow region. Currently, entire complexes of tombstones from the 13th to 17th centuries have been identified, studied and cataloged. from the necropolises of such famous Moscow monasteries as the Danilov Monastery, the Epiphany Monastery, the Vysoko-Petrovsky Monastery and others.
Unfortunately, medieval tombstones are not a widespread source, despite the scale of the territory of the Moscow State. TO today The Institute of Archeology of the Russian Academy of Sciences has a collection of just over 1000 tombstones.
The main part of the tombstones belongs to the 16th - 17th centuries. (no less than 90%), for the 15th century only about 10 - 15 copies are reliably known, and from the 13th - 14th centuries. - a little more (about 25 copies). In particular, now a leading specialist in the field of studying medieval tombstones, L.A. Belyaev. indicates that a fairly significant and almost unpublished collection of tombstones from the 16th - 17th centuries. kept in provincial museums. These “reserves,” according to L.A. Belyaev, number 200–300 copies.
As for the beginning of the existence of white stone tombstones on Russian Christian necropolises, then, as Belyaev L.A. notes, they appeared in the form of gravestones in Rus', most likely in the 13th century. There is still no reliable evidence of the existence of plates in the pre-Mongol period.
In the XIII - XV centuries. white stone tombstones are gradually spreading in Moscow and the lands around it, as well as in the north and north-west of Rus' (in Rostov, Tver, Staritsa, Beloozero and other areas). Later, at the end of the 15th and especially from the middle of the 16th century, local forms began to be replaced by tombstones with typical Moscow ornamentation. Having spread widely in the second half of the 16th - 17th centuries. throughout Muscovite Rus', in the last third of the 17th century, Moscow slabs were actively influenced by Baroque forms and ornaments of Western European tombstones. Since the 17th century and later, the tombstone will be pushed to the periphery by the spread of architecturally or sculpturally decorated tombstones and will retain only a secondary, auxiliary role, losing elements of medieval ornamentation.
Is it necessary to talk about how unique the unexpectedly opened Mozhaisk necropolis turned out to be? This is simply a storehouse of historical knowledge about medieval Mozhaisk! Centuries of our history lie here, and every stone from these graves is priceless to us both culturally and historically.
But now the Mozhaisk necropolis is in danger, as the limestone slabs of the tombstones began to quickly collapse. Before that, they lay in the ground for several decades, where, albeit poorly, they were still protected from sunlight and temperature changes by a layer of crushed stone and humus. When the foundations were cleared and other tombstones were placed around the cemetery, they began to become covered with lichens that destroyed them and became accessible to both moisture and frost. To date, the condition of these fragile limestone slabs is very deplorable. Therefore, urgent measures for their conservation are necessary.
If conservation is impossible for technical and material reasons, then it is necessary to conduct a study and description of these slabs in order to preserve at least the epitaphs for future researchers. To do this, it is necessary to disassemble the foundation slabs, clean them of lichens, copy the inscriptions and photograph them. This way we will preserve a significant part of our history for future generations. All we need is a specialist in this field, who would be willingly helped by Mozhaisk local history enthusiasts.
In addition to the Ministry of Culture and the Institute of Archeology of the Russian Academy of Sciences, I also appeal to all caring people who value our history. Let's join our efforts and save priceless inscriptions from the Mozhaisk necropolis for posterity.
Vladimir Kukovenko
Time Ancient Rus', the cultural monuments of which form the subject of this review, is the most important period in Russian history, since it was then that the foundations of statehood, social, political, economic and social structures, which is expressed in written, archaeological and architectural sources.
General characteristics of the era
The foundations of the state government were formed during the times of Ancient Rus'. The cultural monuments of this era are interesting because they reflect the ideological foundations of the young Russian society, which had just converted to Orthodoxy. A major role in their creation was played by the initiative of the princes, who very often contributed to stone construction, the writing of chronicles, and the construction of buildings for civil and defensive purposes. Subsequently, the initiative passed to the population, primarily to urban residents, who very often own funds built churches and temples. Great importance in this cultural process Greek influence played a role. Byzantine masters became the builders of many monuments, and also taught a lot to the Russians, who, having adopted their rules and traditions, soon began to create their own unique structures.
Type of temples
The times of Ancient Rus', whose cultural monuments are mainly represented by church construction, are traditionally dated to the pre-Mongol period, from the 9th to the beginning of the 13th century, but in a broader sense, later centuries are also applicable to this concept. Russian architecture adopted Byzantine traditions, so the cross-domed churches of Ancient Rus', in principle, repeat their features. However, in our country, the construction of white-stone rectangular churches became widespread, and the semicircular dome was replaced with a helmet-shaped one. Masters very often created mosaics and frescoes. Temples with four pillars were especially common; those with six and eight columns were less common. Most often they had three naves.
Early Church
The times of Ancient Rus', whose cultural monuments are inextricably linked with baptism and the adoption of Orthodoxy, became the heyday of stone temple construction. In the list of these buildings, we should highlight the most basic ones, the construction of which became a landmark event in history and served as the beginning for further construction. One of the first largest and most significant churches was the Church of the Assumption of the Blessed Virgin Mary, which was also popularly called Tithe Church, since the prince specially allocated a tenth of his income for it. It was built under Vladimir Svyatoslavich the Saint, who baptized the Russian land.
Peculiarities
Archaeologists find it difficult to restore its original appearance, however, some surviving data, such as Greek marks on bricks, marble decorations, and a mosaic floor, indicate that the construction was carried out by Greek craftsmen. At the same time, the surviving inscriptions in Cyrillic and ceramic tiles suggest the participation of the Slavs in the construction. The church was built as a cross-domed structure according to the traditional Byzantine canon.
11th century temples
The times of Ancient Rus', whose cultural monuments prove the rapid spread and establishment of Orthodoxy in our country, became a period of active construction of churches, different in size, composition and structure. The second most important temple on this list is St. Sophia Cathedral in Kyiv. It was erected under the reign of Yaroslav the Wise and was to become the main religious center of the new power. Its peculiarity is the presence of large choirs. It has thirteen domes with windows. In the center is the main one, below are four smaller ones, and then there are even smaller eight domes. The cathedral has two staircase towers, two-tier and one-tier galleries. There are mosaics and frescoes inside.
Cross-domed churches of Ancient Rus' became widespread in our country. Another important building was the Assumption Church of the Kiev Pechersk Lavra. It had three naves, a spacious interior and one dome. It was blown up during the Second World War and subsequently restored in the traditions of Ukrainian Baroque.
Novgorod architecture
Monuments of Russian culture are varied in style and structure. Novgorod temples and churches have their own unique features, which allow us to highlight this tradition as special in the history of Russian architecture. Separately, in the list of ancient Russian buildings, the St. Sophia Cathedral should be highlighted, which for a long time remained the main religious center of the republic. It has five domes and a staircase tower. The domes are shaped like helmets. The walls are built of limestone, the interior is similar to a Kyiv church, the arches are elongated, but some details have undergone slight simplification, which later became a characteristic feature of the city's architecture.
At first, the masters imitated Kyiv models, but later Novgorod architecture acquired its original appearance thanks to unique and easily recognizable features. Their temples are small in size, squat and simple in design. One of the most famous churches in this style- this is the Transfiguration Church on Nereditsa. It is very simple, but has a very majestic appearance. It is small in size, has no external decoration, and the lines are very simple. These features are characteristic of Novgorod churches, the appearance of which is even somewhat disproportional, which makes them unique.
Buildings in other cities
Monuments in Nizhny Novgorod are also included in the list of the most famous ancient Russian buildings. One of the churches is dedicated to the holy prophet Elijah. It was erected in the 16th century in memory of the city’s deliverance from the invasion of the Tatars and Nogais. At first it was made of wood, but then, in the mid-17th century, it was rebuilt in stone. In the 19th century, the one-domed church was rebuilt into a five-domed one, which gave its name to the street in the city.
Monuments in Nizhny Novgorod occupy a prominent place in the history of Russian architecture. One of the most famous is St. Michael the Archangel Cathedral, built in the 13th century. It was a white stone church with 4 pillars and 3 apses.
So, the cities of other lands and appanage principalities also became centers of active architectural construction. Their traditions are distinguished by their original and unique features. The Church of St. Nicholas Nadein in Yaroslavl is a unique temple of the 17th century. It was erected on the banks of the Volga and became the first stone church in the city's suburbs.
The initiator was the merchant Nadya Sveteshnikov, after whom many merchants and artisans also began to build churches. The base of the temple was raised on a high base, on top there were five domes on thin drum necks. The Church of St. Nicholas Nadein has a unique iconostasis. It is made in the Baroque style and replaced an older one in the 18th century.
Meaning
Thus, ancient Russian architecture is unique in its features, style and interior. Therefore, it occupies a prominent place not only in domestic culture, but also in world art in general. In this regard, the protection of historical and cultural monuments is now especially important. Many of them have not survived to our time, some were destroyed during the war, so modern archaeologists and restorers give great value their reconstruction and renewal.
By decree of Andrei Bogolyubsky in 1165, between the Klyazma and Nerlya rivers in the Vladimir region, a church temple was erected in memory of the prince’s son who died at the hands of the Bulgars. The church has one dome, but it is built from white stone, which was a novelty at that time. In those days, the main building material was wood. But wooden buildings were often destroyed by fires and were unstable in the face of enemy attacks.
Although the temple was built in memory of the son of Andrei Bogolyubsky, it was dedicated to the church holiday of the Intercession of the Blessed Virgin Mary. This is the first such monument and very important, since Orthodoxy in Rus' was just being established.
The design of the temple seems very simple. Its main components are four pillars, three apses, and a cruciform dome. The church has one chapter. But it is created in such proportions that from a distance it appears to be floating above the earth. This church temple is rightfully on the list of objects World Heritage UNESCO.
Tithe Church
The Church of the Assumption of the Blessed Virgin Mary in Kyiv, called Tithes, is associated with the baptism of Rus'. This was the first stone structure. The church was built over five years, from 991 to 996, on the site of the battle between Christians and pagans. Although in the Tale of Bygone Years the year 989 is named as the beginning of the construction of the temple.
Here the earthly journey of the first martyrs Fedor, as well as his son John, ended. Prince Vladimir Svyatoslavich, by his decree, allocated tithes from the state treasury, or at present, from the budget, for the construction of the church. That is why the church received this name.
At one time it was the largest temple. In 1240, troops of the Tatar-Mongol Khanate destroyed the temple. According to other sources, the church collapsed under the weight of the people who gathered there in the hope of hiding from the invaders. From this archaeological site, only the foundation has been preserved.
Golden Gate
The Golden Gate is considered a symbol of the power and greatness of Ancient Rus'. In 1158, Andrei Bogolyubsky ordered to surround the city of Vladimir with a rampart. After 6 years, he ordered the construction of five entrance gates. Until now, only the Golden Gate, which is an architectural monument, has survived.
This gate was made of oak. Subsequently, they were bound with sheets of copper and covered with gold. But this is not the only reason why the gate got its name. The gilded doors were a real work of art. Residents of the city removed them before the invasion of the Mongol-Tatar army. These doors are included in the UNESCO register as masterpieces lost by humanity.
True, in 1970 a message appeared that the valves were found by Japanese archaeological scientists who took part in cleaning the Klyazma River. It was then that many artifacts were discovered, including valves. But the most valuable thing about them is that the gold plates have not yet been found.
According to legend, the gate arches fell during the completion of construction, crushing 12 builders. Eyewitnesses decided that they all died. Andrei Bogolyubsky ordered to bring the icon Mother of God and began to pray for people in trouble. When the gate was cleared of the rubble and raised, the workers there turned out to be alive. They didn't even receive any damage.
It took seven years to build this cathedral. It was erected in honor of the inhabitants of Novgorod, with the help of whom Yaroslav the Wise became the Grand Duke. The construction of the cathedral was completed in 1052. For Yaroslav the Wise, this year became a landmark one. He buried his son Vladimir in Kyiv.
The cathedral was built from different materials. The main ones were brick and stone. The walls of the cathedral were lined with marble, and mosaic patterns and paintings were built into them. This is the trend of Byzantine masters, who sought to be adopted by Slavic architects. Later, marble was replaced with limestone, and frescoes were installed instead of mosaics.
The first painting is dated 1109. But the frescoes were also destroyed over time. Especially much was lost during the Great Patriotic War. Only the fresco “Constantine and Helena” survived into the 21st century.
There are no galleries in the cathedral; outwardly it appears as a cross-domed church with five naves. At that time, this style was characteristic of most temples. Here are three iconostases created in the distant past. Among the main icons in the cathedral are the Tikhvin Icon of the Mother of God, Euthymius the Great, Savva the Illuminated, Anthony the Great, and the Icon of the Mother of God “The Sign”.
There are also old books here. There are many partially disparate works, although there are some that have survived. These are books by Prince Vladimir, Princess Irina, Archbishops John and Nikita, Princes Fyodor and Mstislav. A figurine of a dove, symbolizing the Holy Spirit, adorns the cross of the dome, located in the center.
This temple is unique not only because it is made in the style of romanticism. The cathedral impresses with elements reminiscent of Western basilicas. The most important thing is the white stone carving. Everything worked out thanks to the fact that the construction of the cathedral lay solely on the shoulders of Russian architects. The finishing work was carried out by Greek craftsmen. Everyone tried to do the job in such a way as not to disgrace their state.
The best craftsmen were gathered here, since the cathedral was being built for Prince Vsevolod, a large nest. His family subsequently housed in the cathedral. The history of the cathedral dates back to 1197. Later, the cathedral was consecrated in memory of Dmitry of Thessalonica, who was considered the heavenly patron.
The compositional structure of the cathedral is based on the design features of Byzantine churches. As a rule, these are 4 pillars and 3 apses. The gilded church dome is crowned with a cross. The figure of a dove serves as a weather vane. The walls of the temple attract with images of a mythical nature, saints, and psalms. The miniature of David the musician is a symbol of the state protected by God.
There could not but be an image of Vsevolod the Big Nest here. He was sculpted together with his sons. Interior decoration the temple is amazing. Despite the fact that many frescoes have been lost, it is still beautiful and solemn here.
The Church of the Savior was built on Mount Nereditsa in just one season in 1198. The temple was erected by decree of Prince Yaroslav Vladimirovich, who ruled Veliky Novgorod at that time. The temple grew up on the elevated bank of the Maly Volkhovets River, not far from the Rurik Settlement.
The church was built in memory of the two sons of Yaroslav Vladimirovich who fell in battle. Externally, the church is not distinguished by majestic superstructures. However, it is an architectural monument. The church was built according to a traditional design for that time. One cubic dome, then, as in other projects, a four-pillar and three-apse version.
The interior of the church is amazing. The walls are completely painted and represent a gallery of Russian painting, one of the most ancient and unique. These paintings were actively studied by scientists in the first third of the last century. Preserved detailed descriptions paintings that shed light on the history of the time when the church was built, on the way of life of the Novgorodians. In 1862, the artist N. Martynov made watercolor copies of the Nereditsky frescoes. They were demonstrated with great success in Paris at the World Exhibition. The sketches were awarded a bronze medal.
These frescoes are a very valuable example of Novgorod monumental painting. Created in the 12th century, they still represent great artistic, and even more so, historical value.
Many consider the Novgorod Kremlin to be the most unique architectural monument. It belongs to one of ancient monuments. Each city in Rus' erected its own Kremlin. It was a fortress that helped protect residents from enemy raids.
Few Kremlin walls stood. The Novgorod Kremlin has been faithfully serving its city residents for the tenth century. This building is the oldest. But she retained her original appearance.
This is why this architectural monument is valuable. The Kremlin was built of red brick, at that time in Rus' building material outlandish and expensive. But it was not in vain that Novgorod builders used it. The walls of the city did not flinch before the onslaught of many enemy troops.
On the territory of the Novgorod Kremlin stands St. Sophia Cathedral. This is another of the great architectural monuments of Ancient Rus'. The floor of the cathedral is paved with mosaics. The entire interior is an example of the exquisite craftsmanship of the architects. Every detail, the smallest touch, has been worked out.
Residents of the Novgorod land are proud of their Kremlin, believing that it contains an ensemble of architectural monuments that should inspire every Russian.
The Trinity-Sergius Lavra is the largest monastery in Russia, which is located in the city of Sergiev Posad in the Moscow region. The founder of the monastery was Sergei of Radonezh. From the day of its foundation, the monastery became the center of the spiritual life of the Moscow lands. Here the army of Prince Dmitry Donskoy received a blessing for the battle with Mamai.
Moreover, Sergius of Radonezh sent into the army the monks Oslyabya and Peresvet, who were distinguished by their zeal in prayer and heroic strength, who showed themselves heroically during the battle of September 8, 1830. For centuries, the monastery was the center of religious education of Russians, as well as the heart of cultural enlightenment.
Many icons were painted in the monastery. This was done by Andrei Rublev and Daniil Cherny, outstanding icon painters. It was here that the well-known Trinity icon was painted. It became an integral part of the monastery iconostasis. Historians call the siege of the monastery by Polish-Lithuanian invaders a test. It was a troubled time. The siege lasted 16 months. The besieged survived and won.
Not all architectural monuments of Ancient Rus' survived and were preserved. There are no traces left of many. But descriptions have been preserved in ancient books. Scientists decipher them and determine their location. Patriots find strength and means and begin to restore ancient buildings. The more actively this work is carried out, the more the greatness of Russia will increase.
Writing and enlightenment[edit | edit code]
About the existence of Eastern Slavs writing in the pre-Christian period is evidenced by numerous written sources and archaeological finds. The creation of the Slavic alphabet is associated with the names of the Byzantine monks Cyril and Methodius. In the second half of the 9th century, Cyril created the Glagolitic alphabet (Glagolitic), in which the first translations of church books were written for the Slavic population of Moravia and Pannonia. At the turn of the 9th-10th centuries, on the territory of the First Bulgarian Kingdom, as a result of the synthesis of the Greek script, which had long been widespread here, and those elements of the Glagolitic alphabet that successfully conveyed the features of the Slavic languages, the alphabet arose, which was later called the Cyrillic alphabet. Subsequently, this easier and more convenient alphabet supplanted the Glagolitic alphabet and became the only one among the southern and eastern Slavs.
The Baptism of Rus' contributed to the widespread and rapid development of writing and written culture. Of significant importance was the fact that Christianity was accepted in its Eastern, Orthodox version, which, unlike Catholicism, allowed worship in national languages. This created favorable conditions for the development of writing in the native language.
The development of writing in the native language led to the fact that the Russian church from the very beginning did not become a monopolist in the field of literacy and education. The spread of literacy among layers of the urban population is evidenced by birch bark letters discovered during archaeological excavations in Novgorod, Tver, Smolensk, Torzhok, Staraya Russa, Pskov, Staraya Ryazan, etc. These are letters, memos, educational exercises, etc. Writing, therefore, was used not only to create books, state and legal acts, but also in everyday life. Inscriptions on handicraft products are often found. Ordinary townspeople left numerous notes on the walls of churches in Kyiv, Novgorod, Smolensk, Vladimir and other cities. The oldest surviving book in Rus' is the so-called. “Novgorod Psalter” of the first quarter of the 11th century: wooden tablets covered with wax with the texts of Psalms 75 and 76.
Most of the written monuments of the pre-Mongol period were lost during numerous fires and foreign invasions. Only a small part of them has survived. The oldest of them are the “Ostromir Gospel”, written by Deacon Gregory for the Novgorod mayor Ostromir in 1057, and two “Izborniki” by Prince Svyatoslav Yaroslavich in 1073 and 1076. The high level of professional craftsmanship with which these books are produced testifies to the well-established production handwritten books already in the first half of the 11th century, as well as about the skills of “book construction” that had become established by that time.
The correspondence of books was carried out mainly in monasteries. The situation changed in the 12th century, when the craft of “book describers” also arose in large cities. This speaks of the increasing literacy of the population and the increased need for books, which the monastery scribes could not satisfy. Many princes kept book scribes with them, and some of them copied books themselves.
At the same time, the main centers of book production continued to be monasteries and cathedral churches, where there were special workshops with permanent teams of copyists. They not only copied books, but also kept chronicles, created original literary works, and translated foreign books. One of the leading centers of this activity was the Kiev-Pechersk Monastery, in which a special literary movement developed that had a great influence on the literature and culture of Ancient Rus'. As the chronicles testify, already in the 11th century in Rus', libraries with up to several hundred books were created at monasteries and cathedral churches.
Needing literate people, Prince Vladimir Svyatoslavich organized the first schools. Literacy was not a privilege only of the ruling class; it also penetrated among the townspeople. Discovered in significant quantities in Novgorod, letters written on birch bark (from the 11th century) contain correspondence of ordinary townspeople; Inscriptions were also made on handicraft products.
Education was highly valued in ancient Russian society. In the literature of that time one can find many eulogies to the book, statements about the benefits of books and “book teaching.”
With the adoption of Christianity, Ancient Rus' was introduced to book culture. The development of Russian writing gradually became the basis for the emergence of literature and was closely connected with Christianity. Despite the fact that writing was known in Russian lands earlier, it was only after the baptism of Rus' that it became widespread. It also received a basis in the form of a developed cultural tradition of Eastern Christianity. Extensive translated literature became the basis for the formation of an improper tradition.
The original literature of Ancient Rus' is characterized by great ideological richness and high artistic perfection. Its prominent representative was Metropolitan Hilarion, the author of the famous “Sermon on Law and Grace,” dating back to the mid-11th century. This work clearly demonstrates the idea of the need for the unity of Rus'. Using the form of a church sermon, Hilarion created a political treatise, which reflected the pressing problems of Russian reality. Contrasting “grace” (Christianity) with “law” (Judaism), Hilarion rejects the concept of God’s chosenness inherent in Judaism and affirms the idea of transferring heavenly attention and favor from one chosen people to all humanity, the equality of all peoples.
An outstanding writer and historian was the monk of the Kiev Pechersk Monastery Nestor. His “Reading” about the princes Boris and Gleb and the “Life of Theodosius,” valuable for the history of everyday life, have been preserved. “Reading” is written in a somewhat abstract style; edifying and ecclesiastical elements are strengthened in it. An outstanding monument of ancient Russian chronicle writing, “The Tale of Bygone Years,” dates back to approximately 1113, preserved as part of later chronicle collections of the 14th-15th centuries. This work is compiled on the basis of earlier chronicles - historical works dedicated to the past of the Russian land. The author of the Tale, monk Nestor, managed to vividly and imaginatively tell about the emergence of Rus' and connect its history with the history of other countries. The main attention in the "Tale" is paid to the events political history, the actions of princes and other representatives of the nobility. The economic life and way of life of the people are described in less detail. The religious worldview of its compiler was also clearly evident in the chronicle: he sees the final cause of all events and people’s actions in the action of divine forces, “providence.” However, religious differences and references to the will of God often hide a practical approach to reality, the desire to identify real cause-and-effect relationships between events.
In turn, Theodosius, abbot of the Pechersk Monastery about whom Nestor also wrote, wrote several teachings and messages to Prince Izyaslav.
An outstanding writer was Vladimir Monomakh. His “Teaching” depicted perfect image the prince - a fair feudal ruler, touched upon pressing issues of our time: the need for strong princely power, unity in repelling the raids of nomads, etc. “Instruction” is a work of a secular nature. It is imbued with the spontaneity of human experiences, alien to abstraction and filled with real images and examples taken from life.
The question of princely power in the life of the state, its responsibilities and methods of implementation becomes one of the central ones in literature. The idea arises of the need for strong power as a condition for successfully fighting external enemies and overcoming internal contradictions. These reflections are embodied in one of the most talented works of the 12th-13th centuries, which has come down to us in two main editions, “The Word” and “Prayer” by Daniil Zatochnik. A staunch supporter of strong princely power, Daniil writes with humor and sarcasm about the sad reality surrounding him.
A special place in the literature of Ancient Rus' is occupied by “The Tale of Igor’s Campaign,” dating back to the end of the 12th century. It tells about the unsuccessful campaign against the Polovtsians in 1185 by the Novgorod-Seversk prince Igor Svyatoslavich. The description of this campaign serves the author only as a reason for thinking about the fate of the Russian land. The author sees the reasons for the defeats in the fight against the nomads, the reasons for the disasters of Rus' in princely civil strife, in the selfish policies of princes thirsting for personal glory. Central to the Lay is the image of the Russian land. The author belonged to the druzhina environment. He constantly used the inherent concepts of “honor” and “glory,” but filled them with broader, patriotic content. “The Tale of Igor’s Campaign” embodied the characteristic features of ancient Russian literature of that time: a living connection with historical reality, citizenship and patriotism.
Batu's invasion had a great influence on Russian culture. The first work dedicated to the invasion is “The Word of the Destruction of the Russian Land.” This word did not reach us completely. Also dedicated to Batu’s invasion is “The Tale of the Ruin of Ryazan by Batu” - an integral part of a cycle of stories about the “miraculous” icon of St. Nicholas of Zaraisky.
Architecture[edit | edit code]
Until the end of the 10th century, there was no monumental stone architecture in Rus', but there were rich traditions of wooden construction, some forms of which subsequently influenced stone architecture. Significant skills in the field wooden architecture determined the rapid development of stone architecture and its originality. After the adoption of Christianity, the construction of stone churches began, the construction principles of which were borrowed from Byzantium. The Byzantine architects summoned to Kyiv passed on to the Russian craftsmen their extensive experience in the building culture of Byzantium.
The large churches of Kievan Rus, built after the adoption of Christianity in 988, were the first examples of monumental architecture in the East Slavic lands. The architectural style of Kievan Rus was established under the influence of Byzantine. Early Orthodox churches were mainly made of wood.
The first stone church of Kievan Rus was the Tithe Church in Kyiv, the construction of which dates back to 989. The church was built as a cathedral not far from the prince's tower. In the first half of the 12th century. The church has undergone significant renovations. At this time, the southwestern corner of the temple was completely rebuilt; a powerful pylon supporting the wall appeared in front of the western facade. These activities most likely represented the restoration of the temple after a partial collapse due to an earthquake.
St. Sophia Cathedral in Kyiv, built in the 11th century, is one of the most significant architectural structures of this period. Initially, St. Sophia Cathedral was a five-nave cross-domed church with 13 chapters. WITH three sides it was surrounded by a two-tier gallery, and outside by an even wider single-tier one. The cathedral was built by Constantinople builders, with the participation of Kyiv craftsmen. At the turn of the 17th-18th centuries, it was externally rebuilt in the Ukrainian Baroque style. The temple is included in the UNESCO World Heritage List.
Painting[edit | edit code]
After the baptism of Rus', new types of monumental painting came from Byzantium - mosaics and frescoes, as well as easel painting (icon painting). Also, the iconographic canon was adopted from Byzantium, the immutability of which was strictly protected by the church. This predetermined a longer and more stable Byzantine influence in painting than in architecture.
The earliest surviving works of ancient Russian painting were created in Kyiv. According to the chronicles, the first temples were decorated by visiting Greek masters, who added to the existing iconography a system for arranging subjects in the interior of the temple, as well as a style of planar writing. The mosaics and frescoes of the St. Sophia Cathedral are known for their special beauty. They are executed in a strict and solemn manner, characteristic of Byzantine monumental painting. Their creators skillfully used a variety of smalt shades and skillfully combined mosaics with frescoes. Of the mosaic works, the images of Christ Pantocrator in the central dome are especially significant. All images are permeated with the idea of greatness, triumph and inviolability of the Orthodox Church and earthly power.
Another unique monument secular painting Ancient Rus' are the paintings of the walls of the two towers of the Kyiv Sophia. They depict scenes of princely hunting, circus competitions, musicians, buffoons, acrobats, fantastic animals and birds, which somewhat distinguishes them from ordinary church paintings. Among the frescoes of Sofia are two group portraits of the family of Yaroslav the Wise.
IN XII-XIII centuries Local characteristics began to appear in the painting of individual cultural centers. This is typical for the Novgorod land and the Vladimir-Suzdal principality. Since the 12th century, a specific Novgorod style of monumental painting has been formed, which reaches a more complete expression in the paintings of the churches of St. George in Staraya Ladoga, the Annunciation in Arkazhi and especially Spas-Nereditsa. In these fresco cycles, unlike the Kyiv ones, there is a noticeable desire for simplification artistic techniques, to the expressive interpretation of iconographic types. IN easel painting Novgorod features were less pronounced.
In Vladimir-Suzdal Rus' of the pre-Mongol period, fragments of frescoes from the Dmitrievsky and Assumption Cathedrals in Vladimir and the Church of Boris and Gleb in Kideksha, as well as several icons, have been preserved. Based on this material, researchers consider it possible to talk about the gradual formation of the Vladimir-Suzdal school of painting. The best preserved fresco of the Demetrievsky Cathedral depicting Last Judgment. It was created by two masters - a Greek and a Russian. Several large icons of the XII - beginning of XII I centuries. The earliest of them is the “Bogolyubskaya Mother of God”, dating back to mid-XII century, stylistically close to the famous “Our Lady of Vladimir”, which is of Byzantine origin.
Folklore[edit | edit code]
Written sources testify to the richness and diversity of the folklore of Ancient Rus'. Significant place it was occupied by calendar ritual poetry: conspiracies, spells, songs that were an integral part of the agrarian cult. Ritual folklore also included pre-wedding songs, funeral laments, songs at feasts and funeral feasts. Mythological tales reflecting the pagan ideas of the ancient Slavs also became widespread. For many years, the church, trying to eradicate the remnants of paganism, waged a stubborn struggle against “filthy” customs, “demonic games” and “blasphemous things”. However, these types of folklore survived in folk life until the 19th-20th centuries, having lost their initial religious meaning, the rituals turned into folk games.
There were also forms of folklore that were not associated with the pagan cult. These include proverbs, sayings, riddles, fairy tales, and work songs. Authors literary works widely used them in their work. Written monuments have preserved numerous traditions and legends about the ancestors of tribes and princely dynasties, about the founders of cities, about the fight against foreigners. Thus, folk tales about the events of the 2nd-6th centuries were reflected in “The Tale of Igor’s Campaign.”
In the 9th century a new epic genre- heroic epic epic, which became the pinnacle of oral folk art and a consequence of the growth of national self-awareness. Epics - oral poetic works about the past. The epics were based on real historical events, the prototypes of some epic heroes are real people. Thus, the prototype of the epic Dobrynya Nikitich was the uncle of Vladimir Svyatoslavich - governor Dobrynya, whose name is repeatedly mentioned in ancient Russian chronicles.
In turn, in the military class, in the princely and druzhina environment, there was its own oral poetry. The princes and their exploits were glorified in squad songs. The princely squads had their own “song makers” - professionals who composed “glory” songs in honor of the princes and their warriors.
Folklore continued to develop even after the spread of written literature, remaining an important element of ancient Russian culture. In subsequent centuries, many writers and poets used plots oral poetry and its arsenal artistic means and techniques. The art of playing the harp, of which it is the birthplace, was also widespread in Rus'.
Arts and crafts[edit | edit code]
Kievan Rus was famous for its masters in applied and decorative arts, who were fluent in various techniques: filigree, enamel, granulation, niello, as evidenced by jewelry. It is no coincidence that the admiration of foreigners for the artistic creativity of our craftsmen was great. L. Lyubimov in his book “The Art of Ancient Rus'” gives a description of star-shaped silver colts from the Tver treasure of the 11th–12th centuries: “Six silver cones with balls are soldered to the ring with a semicircular shield. Each cone is soldered with 5,000 tiny rings with a diameter of 0.06 cm from wire 0.02 cm thick! Only microphotography made it possible to establish these dimensions. But that's not all. The rings serve only as a pedestal for the grain, so each one has another silver grain with a diameter of 0.04 cm!” Jewelry decorated with cloisonne enamel. Masters used bright colors, skillfully selected colors. The drawings traced mythological pagan subjects and images, which were especially often used in applied art. They can be seen on carved wooden furniture, household utensils, gold-embroidered fabrics, and in carved bone products, known in Western Europe as “Taurian carving”, “Rus carving”.
Clothes[edit | edit code]
Modern researchers have numerous evidence about how princes and boyars dressed. Preserved verbal descriptions, images on icons, frescoes and miniatures, as well as fragments of fabrics from sarcophagi. Various researchers in their works compared these materials with mentions of clothing in written documentary and narrative sources - chronicles, lives and various acts.
See also[edit | edit code]
- List of ancient Russian architectural structures of the pre-Mongol period
- Cross-domed churches of Ancient Rus'
- Russian icon painting
- Old Russian facial sewing
Literature[edit | edit code]
- Bychkov V.V. Russian medieval aesthetics of the XI-XVII centuries. - M., 1995.
- Vladyshevskaya T. F. Musical culture of Ancient Rus'. - M.: Znak, 2006. - 472 p. - 800 copies. - ISBN 5-9551-0115-2.
- History of culture of Ancient Rus' / Ed. ed. acad. B. D. Grekova and prof. M. I. Artamonova. - L., 1951.
- Book centers of Ancient Rus': Scribes and manuscripts of the Solovetsky Monastery / Ros. acad. Sci. Institute rus. lit. (Pushk. House); Rep. ed. S. A. Semyachko. - St. Petersburg. , 2004.
- Kolesov V.V. Sources of ancient Russian culture and the origins of Russian mentality // Ancient Rus'. Questions of medieval studies. - 2001. - No. 1 (3). - P. 1–9.
- Culture of Ancient Rus' // Culturology: Textbook / Comp. resp. ed. A. A. Radugin. - M.: Center, 2001. - 304 p. (copy)
- Culture of Kievan Rus // World History in ten volumes / USSR Academy of Sciences. Institute of History. Institute of Asian Peoples. African Institute. Institute of Slavic Studies. Ed. V. V. Kurasov, A. M. Nekrich, E. A. Boltin, A. Ya. Grunt, N. G. Pavlenko, S. P. Platonov, A. M. Samsonov, S. L. Tikhvinsky. - Sotsekgiz, 1957. - T. 3. - P. 261-265. - 896 s. (copy)
- Lyubimov L. Art of Ancient Rus'. - 1981. - 336 p.
- Ostroumov N. I. Wedding customs in Ancient Rus'. - Printing house of I. D. Fortunatov, 1905. - 70 p.
- Prokhorov G. M. Ancient Rus' as a historical and cultural phenomenon. - St. Petersburg. , 2010.
- Rabinovich E. G. Old Russian clothing of the 9th-13th centuries. // Ancient clothing of peoples Eastern Europe: Materials for the historical and ethnographic atlas / Rabinovich M. G. (ed.). - M.: Nauka, 1986. - P. 40–111. - 273 p.
- Romanov B. A. People and customs of Ancient Rus': Historical and everyday essays of the 11th-13th centuries. - M.: Territory, 200. - 256 p. - (Monuments of Russian historical thought). - 1000 copies. - ISBN 5-900829-19-7.
- Rybakov B. A. Arts and crafts Rus' X-XIII centuries. - Aurora, 1971. - 118 p.
- Rybakov B. A. Ancient Rus': Legends. Epics. Chronicles. - M.: Academic project, 2016. - 495 p. - ISBN 978-5-8291-1894-5.
- Skurat K. E. Orthodox fundamentals culture in the literary monuments of Ancient Rus'. - M.: NOU Institute of Expertise educational programs and state-confessional relations, 2006. - 128 p. - 5000 copies. - ISBN 5-94790-010-6.
- Starikova I.V., nun Elena (Khilovskaya). History of Russian church singing from the beginning of the 12th to the end of the 17th century. in research 2000–2010: Bibliographic list // Bulletin of Church History. - 2011. - No. 3-4. - P. 311-336.
- Fedorov G. B. In the footsteps of ancient cultures. Ancient Rus'. - M.: State Publishing House of Cultural and Educational Literature, 1953. - 403 p.
- Chernaya L.A. History of culture of Ancient Rus'. - M.: Logos, 2007. - 288 p. - ISBN 978-5-98704-035-3.
Finally got around to showing in detail the amazing artifacts found in 1999-2000 during the clearing of the territory of the Luzhetsky Ferapont Monastery in Mozhaisk (Moscow region). The information has already appeared on the Internet; in particular, A. Fomenko and G. Nosovsky wrote about it in some detail.
Eat interesting work L.A. Belyaeva “White stone tombstone of the Ferapontov Monastery” describing the first artifact of this kind found in 1982. However, extensive photographic materials, and even more so detailed analysis I haven't come across any artifacts yet.
I'm trying to fill the gap.
We will talk about such stones.
Thanks to an impressive photo shoot done by my brother Andrey, it is possible to look at all this in more detail. I have already written somewhere that I am gradually curtailing my own historical research, focusing exclusively on writing and language, but perhaps the publication will stir up the inquisitive minds of other researchers and we will finally be able to at least partially understand what Rus' was like before the Schism, before the reforms of Patriarch Nikon, and according to some versions, before the real, actual baptism of Rus' in the 17th century and not in the mythical 10th.
This topic is especially dear to me because it concerns my small homeland. On the ruins of this monastery, we boys played war and told each other legends about black monks, underground passages and treasures, which of course are hidden in this land and walled up in these walls. :)
Actually, we were not far from the truth; this land really did contain treasures, but of a completely different kind. Right under our feet was History, which perhaps they wanted to hide, or perhaps it was destroyed due to thoughtlessness or lack of resources. Who knows.
What can we say for sure - before us are fragments (in the literal sense:)) of the real history of Rus' of the 16-17 (and according to Belyaev, even 14-17) centuries - genuine artifacts of the past.
So, let's go.
Historical information.
Mozhaisk Luzhetsky Nativity of the Virgin Mary Ferapontov monastery- located in the city of Mozhaisk, has existed since the 15th century. The only one (except for the temple complex on the site of the former Yakimansky Monastery) of the 18 medieval monasteries of Mozhaisk that has survived to this day.
The monastery was founded by St. Ferapont Belozersky, a student of Sergius of Radonezh at the request of Prince Andrei of Mozhaisky. This happened in 1408, 11 years after the founding of the Belozersky Ferapont Monastery by him. The dedication of the Luzhetsky Monastery to the Nativity of the Blessed Virgin Mary is associated with the decision of Ferapont himself. Apparently the Nativity of the Mother of God was close to his soul, since the Belozersky Monastery was also dedicated to the Nativity. In addition, this holiday was especially honored by Prince Andrei. It was on this holiday in 1380 that his father, Grand Duke of Moscow Dmitry Ioanovich, fought on the Kulikovo field. According to legend, in memory of that battle, his mother, Grand Duchess Evdokia, built the Church of the Nativity of the Virgin Mary in the Moscow Kremlin.
The first stone cathedral in honor of the Nativity of the Virgin Mary stood in the Luzhetsky Monastery until the beginning of the 16th century, after which it was dismantled, and in its place, in -1547, a new, five-domed one was built, which has survived to this day.
The first archimandrite of the Luzhetsky monastery, the Monk Ferapont, having lived ninety-five years, died in 1426 and was buried near the northern wall of the cathedral. In 1547 he was canonized as a saint of the Russian Orthodox Church. Later, a temple was built over his burial.
The Luzhetsky Monastery existed until 1929, when, according to the protocol of the Moscow Regional Executive Committee and the Moscow City Council of November 11, it was closed. The monastery survived the opening of the relics of the founder, devastation, destruction and desolation (it stood ownerless in the mid-1980s). In the pre-war period, the monastery housed a furniture factory and a workshop for a medical equipment plant. At the monastery necropolis there were factory garages with inspection pits and warehouses. Communal apartments were set up in the fraternal cells and the buildings were transferred to the establishment of a canteen and a club for the military unit.
Vicky
“Later, a temple was built over his burial...”
This short phrase from the wiki and prefaces our entire story.
The temple of St. Ferapont was erected in the second half of the 17th century i.e. already after Nikon’s reforms.
Everything would be fine, but its construction was accompanied by a large-scale collection and placement of gravestones from surrounding cemeteries in the foundation of the temple. This practice is incomprehensible to our minds, but in fact it was quite common in the old days and is explained by the saving of scarce stone. Grave slabs were not only placed in the foundations of buildings and walls, but they even paved monastery paths with them. I can’t find the links right now, but you can search online. There are definitely such facts.
We are interested in the slabs themselves, although their appearance makes us wonder whether they were hidden so deeply only to save resources.
But first, let's get our bearings on the area :).
This is actually what remains now from the temple of St. Ferapont. This is the same foundation that workers stumbled upon when clearing the monastery territory in 1999. The cross was installed at the site where the relics of the saint were found.
The entire foundation is made of tombstones!
There is no ordinary stone there at all.
By the way, for supporters of the catastrophe theory, well, the one when everything fell asleep :)
The part of the Cathedral of the Nativity of the Blessed Virgin Mary (first half of the 16th century) where the red brick is visible was completely underground. Moreover, in this state it underwent later reconstructions, as evidenced by the position of the gate. The staircase of the main entrance to the cathedral is a remake, restored from the excavated remains of the original.
The height of the cathedral masonry freed from the ground is about two meters.
Here's another view of the foundation
But the slabs themselves
Most of the artifacts are designed according to a single principle and contain a patterned edging, a fork-shaped cross (at least that’s how it is usually called in scientific literature) in the lower part of the slab, and a rosette in the upper part. At the branching node of the cross and the center of the rosette there is a round extension with a solar symbol or cross. It is noteworthy that solar symbols the cross and rosette are always the same on one slab but different on different slabs. We will touch on these symbols later, but for now we’ll just show their types in large detail.
Branches of the cross
Sockets
Curbs
The slabs can be quite thin, 10 centimeters, medium, about 20 centimeters, and quite thick, up to half a meter. Slabs of medium thickness often have side borders something like this:
“...there are inscriptions in Russian” (c) VSV
It’s somehow hard to believe that the above photographs belong to Rus', and even Christian Rus'. We see absolutely no signs of the traditions to which we are accustomed. But according to official history, Rus' had already been baptized for six centuries at that time.
The confusion is legitimate, but there are artifacts that are even more perplexing.
Some slabs contain inscriptions, mostly in Cyrillic inscription, sometimes of a very high level of execution.
Here's an example.
“On the 7th day of the summer of December 7177, the servant of God, the schema monk Savatey [F]odorov son of Poznyakov, reposed”
The inscription leaves no doubt that a Christian monk is buried.
As you can see, the inscription was made by a skilled carver (the ligature is very good) on the side of the stone. The front side remained free of inscriptions. Savatey died in 1669 AD.
And here's another one. This is a favorite masterpiece. It was this stove that turned my life upside down :), it was from it that I actually “got sick” of Russian script as a unique way of writing, several years ago.
“On the 5th day of the summer of January 7159, the servant of God Tatiana Danilovna reposed in the monastery of the schema monk Taiseya”
Those. Taisiya died in 1651 AD.
Upper part The slab has been completely lost, so there is no way to find out what it looked like.
Or here is an example where the side with the inscription is laid at the junction of the blocks. It is impossible to read it without destroying the masonry, but it is clear that a great master worked there too.
Already from these three pictures questions arise.
1. Don’t you think such rich tombstones of monks are strange? The schema-monks are of course revered in Orthodoxy, but is it enough to have such last honors?
2. The dates of the burial cast doubt on the version that supposedly only old tombstones were used for construction (there is such a point of view). These slabs went into the foundation very young, which, by the way, is evidenced by their preservation. It's like they were cut yesterday. It’s your choice, but it’s very strange to treat fresh burials this way, and even those of holy brethren.
I can cautiously suggest that... they were no longer brothers to the Nikonian reenactors, but, as it were, people of a different faith. And you don’t have to stand on ceremony with the deceased people of other faiths, then they didn’t take very good care of the living.
A few more slabs with inscriptions of varying quality before we complete this part of the material.
As can be seen from the latest examples, the practice of engraving an epitaph on a patterned horizontal surface of a slab also took place. Apparently in this case the inscription was made in the field between the fork-shaped cross and the upper rosette.
This is clearly visible here. And the border and the rosette and the cross and the inscription coexist quite organically.
So what do we have?
At the end of the 17th century, after the completion of the reform of Patriarch Nikon, the temple of St. Ferapont was erected on the territory of the Luzhetsky Monastery. At the same time, the tombstones that were present in the area at that time are placed at the base of the temple foundation. Those. slabs of different ages are preserved in the foundation for three hundred years. The pre-Nikonian canon of the Orthodox gravestone is also preserved for three hundred years. What we can see now is essentially the state of quality, wear and tear, and indirectly the age of the artifacts at the time of their laying in the foundation.
It is obvious that the less worn slabs correspond to the time of creation of approximately 1650-1670. The samples presented in this part correspond mainly to this time.
But! There are also older slabs in the foundation and there are inscriptions on them too.
But more on that in the next part.
The times of Ancient Rus', the cultural monuments of which form the subject of this review, are the most important period in Russian history, since it was then that the foundations of statehood, social, political, economic and social structures were laid, which was expressed in written, archaeological and architectural sources.
General characteristics of the era
The foundations of the state government were formed during the times of Ancient Rus'. The cultural monuments of this era are interesting because they reflect the ideological foundations of the young Russian society, which had just converted to Orthodoxy. A major role in their creation was played by the initiative of the princes, who very often contributed to stone construction, the writing of chronicles, and the construction of buildings for civil and defensive purposes. Subsequently, the initiative passed to the population, primarily to city residents, who very often built churches and temples at their own expense. Greek influence played a great role in this cultural process. Byzantine masters became the builders of many monuments, and also taught a lot to the Russians, who, having adopted their rules and traditions, soon began to create their own unique structures.
Type of temples
The times of Ancient Rus', whose cultural monuments are mainly represented by church construction, are traditionally dated to the pre-Mongol period, from the 9th to the beginning of the 13th century, but in a broader sense, later centuries are also applicable to this concept. Russian architecture adopted Byzantine traditions, so the cross-domed churches of Ancient Rus', in principle, repeat their features. However, in our country, the construction of white-stone rectangular churches became widespread, and the semicircular dome was replaced with a helmet-shaped one. Masters very often created mosaics and frescoes. Temples with four pillars were especially common; those with six and eight columns were less common. Most often they had three naves.
Early Church
The times of Ancient Rus', whose cultural monuments are inextricably linked with baptism and the adoption of Orthodoxy, became the heyday of stone temple construction. In the list of these buildings, we should highlight the most basic ones, the construction of which became a landmark event in history and served as the beginning for further construction. One of the first largest and most significant churches was the Church of the Assumption of the Blessed Virgin Mary, which was also popularly called Tithe Church, since the prince specially allocated a tenth of his income for it. It was built under Vladimir Svyatoslavich the Saint, who baptized the Russian land.
Peculiarities
Archaeologists find it difficult to restore its original appearance, however, some surviving data, such as Greek marks on bricks and marble decorations, indicate that the construction was carried out by Greek masters. At the same time, the surviving inscriptions in Cyrillic and ceramic tiles suggest the participation of the Slavs in the construction. The church was built as a cross-domed structure according to the traditional Byzantine canon.
11th century temples
The times of Ancient Rus', whose cultural monuments prove the rapid spread and establishment of Orthodoxy in our country, became a period of active construction of churches, different in size, composition and structure. The second most important temple on this list is It was erected during the reign of Yaroslav the Wise and was supposed to become the main religious center of the new power. Its peculiarity is the presence of large choirs. It has thirteen domes with windows. In the center is the main one, below are four smaller ones, and then there are even smaller eight domes. The cathedral has two staircase towers, two-tier and one-tier galleries. There are mosaics and frescoes inside.
Cross-domed Russias have become widespread in our country. Another important building was the Kiev Pechersk Lavra. It had three naves, a spacious interior and one dome. It was blown up during the Second World War and subsequently restored in the traditions of Ukrainian Baroque.
Novgorod architecture
Monuments of Russian culture are varied in style and structure. Novgorod temples and churches have their own unique features, which make it possible to distinguish this tradition as special in the history of Russian architecture. Separately in the list of ancient Russian buildings, it should be highlighted which for a long time remained the main religious center of the republic. It has five domes and a staircase tower. The domes are shaped like helmets. The walls are built of limestone, the interior is similar to a Kyiv church, the arches are elongated, but some details have undergone slight simplification, which later became a characteristic feature of the city's architecture.
At first, the masters imitated Kyiv models, but later Novgorod architecture acquired its original appearance thanks to unique and easily recognizable features. Their temples are small in size, squat and simple in design. One of the most famous churches in this style is the Transfiguration Church on Nereditsa. It is very simple, but has a very majestic appearance. It is small in size, has no external decoration, and the lines are very simple. These features are characteristic of Novgorod churches, the appearance of which is even somewhat disproportional, which makes them unique.
Buildings in other cities
Monuments in Nizhny Novgorod are also included in the list of the most famous ancient Russian buildings. One of the churches is dedicated to the saint. It was erected in the 16th century in memory of the deliverance of the city from the invasion of the Tatars and Nogais. At first it was made of wood, but then, in the mid-17th century, it was rebuilt in stone. In the 19th century, the one-domed church was rebuilt into a five-domed one, which gave its name to the street in the city.
Monuments in Nizhny Novgorod occupy a prominent place in the history of Russian architecture. One of the most famous is St. Michael the Archangel Cathedral, built in the 13th century. It was a white stone church with 4 pillars and 3 apses.
So, the cities of other lands and appanage principalities also became centers of active architectural construction. Their traditions are distinguished by their original and unique features. The Church of St. Nicholas Nadein in Yaroslavl is a unique temple of the 17th century. It was erected on the banks of the Volga and became the first stone church in the city's suburbs.
The initiator was the merchant Nadya Sveteshnikov, after whom many merchants and artisans also began to build churches. The base of the temple was raised on a high base, on top there were five domes on thin drum necks. The Church of St. Nicholas Nadein has a unique iconostasis. It is made in the Baroque style and replaced an older one in the 18th century.
Meaning
Thus, ancient Russian architecture is unique in its features, style and interior. Therefore, it occupies a prominent place not only in domestic culture, but also in world art in general. In this regard, the protection of historical and cultural monuments is now especially important. Many of them have not survived to this day, some were destroyed during the war, so modern archaeologists and restorers attach great importance to their reconstruction and renovation.
Content:
The role of architectural monuments with which planet Earth is rich is incredibly enormous. Thanks to ancient buildings, you can penetrate and feel the spirit of an era long past. After all, there is nothing more meaningful than walking along ancient streets made of stone, which has been worn out by the touch of the feet of generations that walked here a long time ago.
The Russian land is also rich in architectural monuments. This is evidence of the prosperity of cities and ordinary settlements thousands of years ago. The ancestors of today's generations lived here, who fought for freedom and for the prosperity of their homes. People often argue about the patriotism of Russians, that is, Russians, Ukrainians, Tatars, Belarusians, and representatives of other nationalities who have lived and are now living on this land.
Those who argue cannot understand what makes a Russian sacrifice himself for the freedom and lives of others. Where does patriotism begin? And it begins with ancient church churches, with fortresses half-overgrown with grass, with buildings and structures in which Pushkin and Dostoevsky, Mussorgsky and Tchaikovsky created their works, where Rublev and his students painted icons, where the first decrees strengthening Russia, Ivan the Terrible and Peter I.
It turns out that patriotism begins where a Russian was born, where he lived, grew bread, built castles and temples, erected fortress walls, where he shed his blood for freedom and independence. Therefore, we have to state with regret the facts of the disgraceful attitude towards the architectural monuments of Rus', which were erected at the dawn of their statehood. This attitude towards architectural monuments kills patriotism.
There are many monuments in Rus'. They are world famous in Moscow, St. Petersburg, Kyiv. They are often written about, the attention of the state, church, public organizations. But there are architectural monuments that were erected in other cities and even small villages in distant years. The general public knows almost nothing about them. But their role in instilling love for their homeland among Russians is immeasurably high.
By decree of Andrei Bogolyubsky in 1165, between the Klyazma and Nerlya rivers in the Vladimir region, a church temple was erected in memory of the prince’s son who died at the hands of the Bulgars. The church has one dome, but it was built of white stone, which was a novelty at that time. In those days, the main building material was wood. But wooden buildings were often destroyed by fires and were unstable in the face of enemy attacks.
Although the temple was built in memory of the son of Andrei Bogolyubsky, it was dedicated to the church holiday of the Intercession of the Blessed Virgin Mary. This is the first such monument and very important, since Orthodoxy in Rus' was just being established.
The design of the temple seems very simple. Its main components are four pillars, three apses, and a cruciform dome. The church has one chapter. But it is created in such proportions that from a distance it appears to be floating above the earth. This church temple is rightfully included in the list of UNESCO World Heritage Sites.
Tithe Church
The Church of the Assumption of the Blessed Virgin Mary in Kyiv, called Tithes, is associated with the baptism of Rus'. This was the first stone structure. The church was built over five years, from 991 to 996, on the site of the battle between Christians and pagans. Although in the Tale of Bygone Years the year 989 is named as the beginning of the construction of the temple.
Here the earthly journey of the first martyrs Fedor, as well as his son John, ended. Prince Vladimir Svyatoslavich, by his decree, allocated tithes from the state treasury, or at present, from the budget, for the construction of the church. That is why the church received this name.
At one time it was the largest temple. In 1240, troops of the Tatar-Mongol Khanate destroyed the temple. According to other sources, the church collapsed under the weight of the people who gathered there in the hope of hiding from the invaders. From this archaeological site, only the foundation has been preserved.
Golden Gate
The Golden Gate is considered a symbol of the power and greatness of Ancient Rus'. In 1158, Andrei Bogolyubsky ordered to surround the city of Vladimir with a rampart. After 6 years, he ordered the construction of five entrance gates. Until now, only the Golden Gate, which is an architectural monument, has survived.
This gate was made of oak. Subsequently, they were bound with sheets of copper and covered with gold. But this is not the only reason why the gate got its name. The gilded doors were a real work of art. Residents of the city removed them before the invasion of the Mongol-Tatar army. These doors are included in the UNESCO register as masterpieces lost by humanity.
True, in 1970 a message appeared that the valves were found by Japanese archaeological scientists who took part in cleaning the Klyazma River. It was then that many artifacts were discovered, including valves. But the most valuable thing about them is that the gold plates have not yet been found.
According to legend, the gate arches fell during the completion of construction, crushing 12 builders. Eyewitnesses decided that they all died. Andrei Bogolyubsky ordered to bring the icon of the Mother of God and began to pray for people in trouble. When the gate was cleared of the rubble and raised, the workers there turned out to be alive. They didn't even receive any damage.
It took seven years to build this cathedral. It was erected in honor of the inhabitants of Novgorod, with the help of whom Yaroslav the Wise became the Grand Duke. The construction of the cathedral was completed in 1052. For Yaroslav the Wise, this year became a landmark one. He buried his son Vladimir in Kyiv.
The cathedral was built from different materials. The main ones were brick and stone. The walls of the cathedral were lined with marble, and mosaic patterns and paintings were built into them. This is the trend of Byzantine masters, who sought to be adopted by Slavic architects. Later, marble was replaced with limestone, and frescoes were installed instead of mosaics.
The first painting is dated 1109. But the frescoes were also destroyed over time. Especially much was lost during the Great Patriotic War. Only the fresco “Constantine and Helena” survived into the 21st century.
There are no galleries in the cathedral; outwardly it appears as a cross-domed church with five naves. At that time, this style was characteristic of most temples. Here are three iconostases created in the distant past. Among the main icons in the cathedral are the Tikhvin Icon of the Mother of God, Euthymius the Great, Savva the Illuminated, Anthony the Great, and the Icon of the Mother of God “The Sign”.
There are also old books here. There are many partially disparate works, although there are some that have survived. These are books by Prince Vladimir, Princess Irina, Archbishops John and Nikita, Princes Fyodor and Mstislav. A figurine of a dove, symbolizing the Holy Spirit, adorns the cross of the dome, located in the center.
This temple is unique not only because it is made in the style of romanticism. The cathedral impresses with elements reminiscent of Western basilicas. The most important thing is the white stone carving. Everything worked out thanks to the fact that the construction of the cathedral lay solely on the shoulders of Russian architects. The finishing work was carried out by Greek craftsmen. Everyone tried to do the job in such a way as not to disgrace their state.
The best craftsmen were gathered here, since the cathedral was being built for Prince Vsevolod, a large nest. His family subsequently housed in the cathedral. The history of the cathedral dates back to 1197. Later, the cathedral was consecrated in memory of Dmitry of Thessalonica, who was considered the heavenly patron.
The compositional structure of the cathedral is based on the design features of Byzantine churches. As a rule, these are 4 pillars and 3 apses. The gilded church dome is crowned with a cross. The figure of a dove serves as a weather vane. The walls of the temple attract with images of a mythical nature, saints, and psalms. The miniature of David the musician is a symbol of the state protected by God.
There could not but be an image of Vsevolod the Big Nest here. He was sculpted together with his sons. The interior decoration of the temple is amazing. Despite the fact that many frescoes have been lost, it is still beautiful and solemn here.
The Church of the Savior was built on Mount Nereditsa in just one season in 1198. The temple was erected by decree of Prince Yaroslav Vladimirovich, who ruled Veliky Novgorod at that time. The temple grew up on the elevated bank of the Maly Volkhovets River, not far from the Rurik Settlement.
The church was built in memory of the two sons of Yaroslav Vladimirovich who fell in battle. Externally, the church is not distinguished by majestic superstructures. However, it is an architectural monument. The church was built according to a traditional design for that time. One cubic dome, then, as in other projects, a four-pillar and three-apse version.
The interior of the church is amazing. The walls are completely painted and represent a gallery of Russian painting, one of the most ancient and unique. These paintings were actively studied by scientists in the first third of the last century. Detailed descriptions of the paintings have been preserved, shedding light on the history of the time when the church was erected and on the way of life of the Novgorodians. In 1862, the artist N. Martynov made watercolor copies of the Nereditsky frescoes. They were demonstrated with great success in Paris at the World Exhibition. The sketches were awarded a bronze medal.
These frescoes are a very valuable example of Novgorod monumental painting. Created in the 12th century, they still represent great artistic, and even more so, historical value.
Many consider the Novgorod Kremlin to be the most unique architectural monument. It belongs to one of the oldest monuments. Each city in Rus' erected its own Kremlin. It was a fortress that helped protect residents from enemy raids.
Few Kremlin walls stood. The Novgorod Kremlin has been faithfully serving its city residents for the tenth century. This building is the oldest. But she retained her original appearance.
This is why this architectural monument is valuable. The Kremlin was built of red brick; at that time in Rus' the building material was unusual and expensive. But it was not in vain that Novgorod builders used it. The walls of the city did not flinch before the onslaught of many enemy troops.
On the territory of the Novgorod Kremlin stands St. Sophia Cathedral. This is another of the great architectural monuments of Ancient Rus'. The floor of the cathedral is paved with mosaics. The entire interior is an example of the exquisite craftsmanship of the architects. Every detail, the smallest touch, has been worked out.
Residents of the Novgorod land are proud of their Kremlin, believing that it contains an ensemble of architectural monuments that should inspire every Russian.
The Trinity-Sergius Lavra is the largest monastery in Russia, which is located in the city of Sergiev Posad in the Moscow region. The founder of the monastery was Sergei of Radonezh. From the day of its foundation, the monastery became the center of the spiritual life of the Moscow lands. Here the army of Prince Dmitry Donskoy received a blessing for the battle with Mamai.
Moreover, Sergius of Radonezh sent into the army the monks Oslyabya and Peresvet, who were distinguished by their zeal in prayer and heroic strength, who showed themselves heroically during the battle of September 8, 1830. For centuries, the monastery was the center of religious education of Russians, as well as the heart of cultural enlightenment.
Many icons were painted in the monastery. This was done by Andrei Rublev and Daniil Cherny, outstanding icon painters. It was here that the well-known Trinity icon was painted. It became an integral part of the monastery iconostasis. Historians call the siege of the monastery by Polish-Lithuanian invaders a test. It was a troubled time. The siege lasted 16 months. The besieged survived and won.
Not all architectural monuments of Ancient Rus' survived and were preserved. There are no traces left of many. But descriptions have been preserved in ancient books. Scientists decipher them and determine their location. Patriots find strength and means and begin to restore ancient buildings. The more actively this work is carried out, the more the greatness of Russia will increase.