Les chrétientés orthodoxes post-byzantines face à l'Europe de la Réforme et des Temps Modernes, 2023
For all its apparent modesty, the church at Jurkino is not inferior to the works of the Italian a... more For all its apparent modesty, the church at Jurkino is not inferior to the works of the Italian architects in the capital in the way the whole and the details are thought out, so that all the elements, whether they belong to the Venetian or Russian tradition, are in subtle correlation with each other. None of them overshadows the other. Pietro Annibale was later to work in the same manner, weaving together different architectural styles, on the Church of the Ascension at Kolomenskoe. Such a method does not permit the researcher to use simple definitions: for Russia the image of this church is at once innovative and familiar, and for the Venetian architect it is partly retrospective, but also an adoption of completely new principles of working with volume.
Статья посвящена альбому с рисунками середины 1850-х гг. неизвестного русского художника-пенсионе... more Статья посвящена альбому с рисунками середины 1850-х гг. неизвестного русского художника-пенсионера из окружения А.П. Боголюбова. Молодой рисовальщик, получивший прекрасную академическую выучку, путешествовал по Италии, писал типичные виды и сюжетные сценки и при этом в большей степени примерял на себя роль С.Ф. Щедрина и К.П. Брюллова в поисках творческого самоопределения.Альбом вписывается в широкий контекст работы в Италии молодых художников-пенсионеров. В качестве стилистических и иконографических аналогий привлекаются близкие источники - путевые зарисовки А.П. Боголюбова и Ф.А. Бронникова, а также альбом Ф.А. Клагеса. Тщательное сопоставление работ начинающих мастеров позволяет сделать выводы об общих проблемах, которые испытывали молодые выпускники Императорской Академии художеств, обладающие прекрасными техническими навыками и одновременно слабой готовностью к индивидуальному художественному поиску.Рисунки значительно расширяют ряд визуальных источников о русском художественном сообществе в Италии. В некоторых случаях найдены портреты и карикатурные шаржи, изображения живописцев на пленэре, а также разработка иконографии типичных сюжетов (например, «Прерванное свидание» К.П. Брюллова или «Искушение» Н.Г. Шильдера). В альбоме присутствует множество подписей, которые публикуются отдельно, чтобы облегчить идентификацию автора последующим исследователям.
The article returns us to the controversy about the original coloring
of the Cathedral of the Ar... more The article returns us to the controversy about the original coloring of the Cathedral of the Archangel in the Moscow Kremlin. The author has analyzed and published a long-standing, but well-forgotten source— the restoration report of A.T. Silin (1967). This data undoubtedly indicate that the cathedral was painted in two colors: the elements of the order were white and the planes were red-ochre, drawn according to a pre-drawn template with white lines as ‘brickwall’. This technique was well known to the Venetian architects at the turn of the 15th – 16th centuries under the name "regalzier".
In Russia esistono modi creativi per rompere il silenzio in cui il potere ha relegato l'opposizio... more In Russia esistono modi creativi per rompere il silenzio in cui il potere ha relegato l'opposizione alla guerra. È il fenomeno strisciante e invasivo della cosiddetta resistenza visuale.
The idea to nominate the sites of Palladian architecture by Nikolay Lvov for inscription into the... more The idea to nominate the sites of Palladian architecture by Nikolay Lvov for inscription into the UNESCO World Heritage List was originally proposed by Olga Alter. The draft nomination was prepared as a volunteer effort to protect and conserve cultural heritage. It was presented publicly for the first time at a dedicated round table held on 15 May 2020 at the National Ethnographic Museum in Torzhok. On 25 August 2020, enclosed with a letter of support signed by leading architecture historians and conservation advocates, the draft was submitted to the government of the Tver Region. On 14 October 2021, the Russian Ministry of Culture determined that the nomination qualified under the UNESCO conditions and submitted it for approval by the ICOMOS National Committee in Russia. We thank Dmitry Shvidkovsky, who provided invaluable support during the creation of this project.
В статье представлены последние достижения по продвижению Исторического центра Торжка и усадебной... more В статье представлены последние достижения по продвижению Исторического центра Торжка и усадебной архитектуры Николая Львова в Список всемирного наследия ЮНЕСКО, основные ценности, а также потенциальные преимущества получения данным объектом статуса всемирного наследия ЮНЕСКО. К статье предлагается проект заявки Исторического центра Торжка и усадебной архитектуры Николая Львова на включение в Предварительный список всемирного наследия от России.
The historical comprehension of the journey to Siberia, that resulted in its conquest and annexat... more The historical comprehension of the journey to Siberia, that resulted in its conquest and annexation by Russia, almost immediately started with the sacralization of Yermak as its protagonist. Thus, it was natural for 'contact relics' to appear, i.e. items that had belonged to the legendary conqueror. Among them was Yermak's armour and banners: these were invested with a certain holy power that gave them a sacral character...
Московский Кремль XVI столетия. Древние святыни и исторические памятники / Отв. ред. С.А. Беляев, И.А. Воротникова. М., 2014. Кн. 2., 2014
The piece of furniture known in Russian as the Tsar's “Place of Prayer” of the Moscow Kremlin was... more The piece of furniture known in Russian as the Tsar's “Place of Prayer” of the Moscow Kremlin was demolished in the 1960s and had not been studied properly ever since. In this article its form has been reconstructed based on the 19th-century drawings, 20th-century photographs and church inventory records.
The architectural form of the Tsar’s “Place of Prayer” with its unusual 16–faceted star-shaped canopy placed on an octagonal base has analogies with two Russian buildings: the Moscow Cathedral of St Basil the Blessed (1555–1561) and the Murom Church of Sts Kosmas and Damianos (1555–1556). These analogies allow the author to date the Tsar’s “Place of Prayer” in the Annunciation Cathedral back to the mid-16th century, exactly when, after the ruinous fire of 1547, its interior has been reconstructed. Later, this installation was reconstructed many times. Its only original surviving pieces are the three icons of the Holy Trinity, Saint Boris and Saint Gleb. The icons are the work of court icon-painters of the first third of the 17th century and might have been inserted into the gables that framed the base of the canopied top of the Tsar’s “Place of Prayer”.
The article is accompanied with an appendix, which includes all available textual descriptions of the Tsar’s “Place of Prayer” from the inventories of the Annunciation Cathedral.
The embroidered cloth depicting the Ascension, found by E.Tsutskin in burial mounds Guva 2 of Kal... more The embroidered cloth depicting the Ascension, found by E.Tsutskin in burial mounds Guva 2 of Kalmykia in 1978, essentially enriches our notions not only about the early Russian embroidery, but about pre-Mongolian art of Kievan Rus’ as well. The iconographic variant of the Ascension with the fi gures of the Apostles alternated with images of trees is known in Byzantine art since the 9th century. However in ancient Russian art it can be found only in mural paintings of the 12th centuries. The original composition is supposed to be 1 meter wide, thus, we consider it to be an altar cloth (antependium). We also take into consideration the typical iconographic images of cherubims on the piece, which are usually not presented in such compositions. The technique of execution is similar to the fragments of pre-Mongolian embroidery found on the territory of modern Ukraine; it bears unmistakable features of the infl uence of Romanesque art. Thus, the artwork can be dated back to the 12th – early 13th century.
Byzantine Antiquities. Works of Art from the Fourth to Fifteenth Centuries in the Collection of the Moscow Kremlin Museums / Resp. ed. and comp. I.A. Sterligova, trans. by R.M. Cleminson. Moscow, 2013., 2013
Гос. историко-культурный музей-заповедник «Московский Кремль». Материалы и исследования. 2016. Вып. XXVII: Московский Кремль в государственной жизни России. Четыре столетия истории / Сост. С.П. Орленко. С. 313–325.
Les chrétientés orthodoxes post-byzantines face à l'Europe de la Réforme et des Temps Modernes, 2023
For all its apparent modesty, the church at Jurkino is not inferior to the works of the Italian a... more For all its apparent modesty, the church at Jurkino is not inferior to the works of the Italian architects in the capital in the way the whole and the details are thought out, so that all the elements, whether they belong to the Venetian or Russian tradition, are in subtle correlation with each other. None of them overshadows the other. Pietro Annibale was later to work in the same manner, weaving together different architectural styles, on the Church of the Ascension at Kolomenskoe. Such a method does not permit the researcher to use simple definitions: for Russia the image of this church is at once innovative and familiar, and for the Venetian architect it is partly retrospective, but also an adoption of completely new principles of working with volume.
Статья посвящена альбому с рисунками середины 1850-х гг. неизвестного русского художника-пенсионе... more Статья посвящена альбому с рисунками середины 1850-х гг. неизвестного русского художника-пенсионера из окружения А.П. Боголюбова. Молодой рисовальщик, получивший прекрасную академическую выучку, путешествовал по Италии, писал типичные виды и сюжетные сценки и при этом в большей степени примерял на себя роль С.Ф. Щедрина и К.П. Брюллова в поисках творческого самоопределения.Альбом вписывается в широкий контекст работы в Италии молодых художников-пенсионеров. В качестве стилистических и иконографических аналогий привлекаются близкие источники - путевые зарисовки А.П. Боголюбова и Ф.А. Бронникова, а также альбом Ф.А. Клагеса. Тщательное сопоставление работ начинающих мастеров позволяет сделать выводы об общих проблемах, которые испытывали молодые выпускники Императорской Академии художеств, обладающие прекрасными техническими навыками и одновременно слабой готовностью к индивидуальному художественному поиску.Рисунки значительно расширяют ряд визуальных источников о русском художественном сообществе в Италии. В некоторых случаях найдены портреты и карикатурные шаржи, изображения живописцев на пленэре, а также разработка иконографии типичных сюжетов (например, «Прерванное свидание» К.П. Брюллова или «Искушение» Н.Г. Шильдера). В альбоме присутствует множество подписей, которые публикуются отдельно, чтобы облегчить идентификацию автора последующим исследователям.
The article returns us to the controversy about the original coloring
of the Cathedral of the Ar... more The article returns us to the controversy about the original coloring of the Cathedral of the Archangel in the Moscow Kremlin. The author has analyzed and published a long-standing, but well-forgotten source— the restoration report of A.T. Silin (1967). This data undoubtedly indicate that the cathedral was painted in two colors: the elements of the order were white and the planes were red-ochre, drawn according to a pre-drawn template with white lines as ‘brickwall’. This technique was well known to the Venetian architects at the turn of the 15th – 16th centuries under the name "regalzier".
In Russia esistono modi creativi per rompere il silenzio in cui il potere ha relegato l'opposizio... more In Russia esistono modi creativi per rompere il silenzio in cui il potere ha relegato l'opposizione alla guerra. È il fenomeno strisciante e invasivo della cosiddetta resistenza visuale.
The idea to nominate the sites of Palladian architecture by Nikolay Lvov for inscription into the... more The idea to nominate the sites of Palladian architecture by Nikolay Lvov for inscription into the UNESCO World Heritage List was originally proposed by Olga Alter. The draft nomination was prepared as a volunteer effort to protect and conserve cultural heritage. It was presented publicly for the first time at a dedicated round table held on 15 May 2020 at the National Ethnographic Museum in Torzhok. On 25 August 2020, enclosed with a letter of support signed by leading architecture historians and conservation advocates, the draft was submitted to the government of the Tver Region. On 14 October 2021, the Russian Ministry of Culture determined that the nomination qualified under the UNESCO conditions and submitted it for approval by the ICOMOS National Committee in Russia. We thank Dmitry Shvidkovsky, who provided invaluable support during the creation of this project.
В статье представлены последние достижения по продвижению Исторического центра Торжка и усадебной... more В статье представлены последние достижения по продвижению Исторического центра Торжка и усадебной архитектуры Николая Львова в Список всемирного наследия ЮНЕСКО, основные ценности, а также потенциальные преимущества получения данным объектом статуса всемирного наследия ЮНЕСКО. К статье предлагается проект заявки Исторического центра Торжка и усадебной архитектуры Николая Львова на включение в Предварительный список всемирного наследия от России.
The historical comprehension of the journey to Siberia, that resulted in its conquest and annexat... more The historical comprehension of the journey to Siberia, that resulted in its conquest and annexation by Russia, almost immediately started with the sacralization of Yermak as its protagonist. Thus, it was natural for 'contact relics' to appear, i.e. items that had belonged to the legendary conqueror. Among them was Yermak's armour and banners: these were invested with a certain holy power that gave them a sacral character...
Московский Кремль XVI столетия. Древние святыни и исторические памятники / Отв. ред. С.А. Беляев, И.А. Воротникова. М., 2014. Кн. 2., 2014
The piece of furniture known in Russian as the Tsar's “Place of Prayer” of the Moscow Kremlin was... more The piece of furniture known in Russian as the Tsar's “Place of Prayer” of the Moscow Kremlin was demolished in the 1960s and had not been studied properly ever since. In this article its form has been reconstructed based on the 19th-century drawings, 20th-century photographs and church inventory records.
The architectural form of the Tsar’s “Place of Prayer” with its unusual 16–faceted star-shaped canopy placed on an octagonal base has analogies with two Russian buildings: the Moscow Cathedral of St Basil the Blessed (1555–1561) and the Murom Church of Sts Kosmas and Damianos (1555–1556). These analogies allow the author to date the Tsar’s “Place of Prayer” in the Annunciation Cathedral back to the mid-16th century, exactly when, after the ruinous fire of 1547, its interior has been reconstructed. Later, this installation was reconstructed many times. Its only original surviving pieces are the three icons of the Holy Trinity, Saint Boris and Saint Gleb. The icons are the work of court icon-painters of the first third of the 17th century and might have been inserted into the gables that framed the base of the canopied top of the Tsar’s “Place of Prayer”.
The article is accompanied with an appendix, which includes all available textual descriptions of the Tsar’s “Place of Prayer” from the inventories of the Annunciation Cathedral.
The embroidered cloth depicting the Ascension, found by E.Tsutskin in burial mounds Guva 2 of Kal... more The embroidered cloth depicting the Ascension, found by E.Tsutskin in burial mounds Guva 2 of Kalmykia in 1978, essentially enriches our notions not only about the early Russian embroidery, but about pre-Mongolian art of Kievan Rus’ as well. The iconographic variant of the Ascension with the fi gures of the Apostles alternated with images of trees is known in Byzantine art since the 9th century. However in ancient Russian art it can be found only in mural paintings of the 12th centuries. The original composition is supposed to be 1 meter wide, thus, we consider it to be an altar cloth (antependium). We also take into consideration the typical iconographic images of cherubims on the piece, which are usually not presented in such compositions. The technique of execution is similar to the fragments of pre-Mongolian embroidery found on the territory of modern Ukraine; it bears unmistakable features of the infl uence of Romanesque art. Thus, the artwork can be dated back to the 12th – early 13th century.
Byzantine Antiquities. Works of Art from the Fourth to Fifteenth Centuries in the Collection of the Moscow Kremlin Museums / Resp. ed. and comp. I.A. Sterligova, trans. by R.M. Cleminson. Moscow, 2013., 2013
Гос. историко-культурный музей-заповедник «Московский Кремль». Материалы и исследования. 2016. Вып. XXVII: Московский Кремль в государственной жизни России. Четыре столетия истории / Сост. С.П. Орленко. С. 313–325.
Протокол круглого стола, посвящённого проекту номинации в список памятников всемирного наследия U... more Протокол круглого стола, посвящённого проекту номинации в список памятников всемирного наследия UNESCO «Исторический центр Торжка и усадебная архитектура Николая Львова». 15 мая 2020 года
Minutes of the roundtable dedicated to the project of nomination for the list of UNESCO World Her... more Minutes of the roundtable dedicated to the project of nomination for the list of UNESCO World Heritage Sites "Historical Center of Torzhok and the estate architecture of Nikolay Lvov"
This project is the first to consider the coloring of temples built in Rus' by Renaissance archit... more This project is the first to consider the coloring of temples built in Rus' by Renaissance architects in the fifteenth to sixteenth centuries. Centuries later, even the key monuments have been partially rebuilt and repainted, mostly whitewashed, and thus are studied in an altered state. Recently, a breakthrough has been made in the study of these monuments, but the theme of the color of the facades has not yet been given sufficient attention. Considering them in the context of the Italian Renaissance and disparate material cultural artifacts enables us to evaluate their original artistic image, their relationship to a larger ensemble, and should also serve in the future for correct restoration decisions.
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of the Cathedral of the Archangel in the Moscow Kremlin. The author has
analyzed and published a long-standing, but well-forgotten source— the
restoration report of A.T. Silin (1967). This data undoubtedly indicate that
the cathedral was painted in two colors: the elements of the order were
white and the planes were red-ochre, drawn according to a pre-drawn
template with white lines as ‘brickwall’. This technique was well known
to the Venetian architects at the turn of the 15th – 16th centuries under
the name "regalzier".
The architectural form of the Tsar’s “Place of Prayer” with its unusual 16–faceted star-shaped canopy placed on an octagonal base has analogies with two Russian buildings: the Moscow Cathedral of St Basil the Blessed (1555–1561) and the Murom Church of Sts Kosmas and Damianos (1555–1556). These analogies allow the author to date the Tsar’s “Place of Prayer” in the Annunciation Cathedral back to the mid-16th century, exactly when, after the ruinous fire of 1547, its interior has been reconstructed. Later, this installation was reconstructed many times. Its only original surviving pieces are the three icons of the Holy Trinity, Saint Boris and Saint Gleb. The icons are the work of court icon-painters of the first third of the 17th century and might have been inserted into the gables that framed the base of the canopied top of the Tsar’s “Place of Prayer”.
The article is accompanied with an appendix, which includes all available textual descriptions of the Tsar’s “Place of Prayer” from the inventories of the Annunciation Cathedral.
of the Cathedral of the Archangel in the Moscow Kremlin. The author has
analyzed and published a long-standing, but well-forgotten source— the
restoration report of A.T. Silin (1967). This data undoubtedly indicate that
the cathedral was painted in two colors: the elements of the order were
white and the planes were red-ochre, drawn according to a pre-drawn
template with white lines as ‘brickwall’. This technique was well known
to the Venetian architects at the turn of the 15th – 16th centuries under
the name "regalzier".
The architectural form of the Tsar’s “Place of Prayer” with its unusual 16–faceted star-shaped canopy placed on an octagonal base has analogies with two Russian buildings: the Moscow Cathedral of St Basil the Blessed (1555–1561) and the Murom Church of Sts Kosmas and Damianos (1555–1556). These analogies allow the author to date the Tsar’s “Place of Prayer” in the Annunciation Cathedral back to the mid-16th century, exactly when, after the ruinous fire of 1547, its interior has been reconstructed. Later, this installation was reconstructed many times. Its only original surviving pieces are the three icons of the Holy Trinity, Saint Boris and Saint Gleb. The icons are the work of court icon-painters of the first third of the 17th century and might have been inserted into the gables that framed the base of the canopied top of the Tsar’s “Place of Prayer”.
The article is accompanied with an appendix, which includes all available textual descriptions of the Tsar’s “Place of Prayer” from the inventories of the Annunciation Cathedral.