"Wooden architecture of Rus'"– a presentation that will introduce you to the history and diverse types of ancient Russian wooden buildings. This work is the logical conclusion of a series of presentations dedicated to ancient Russian architecture.
Wooden architecture of Rus'
"Wooden Rus':
tent bell towers,
The swaying of forests,villages in the snow,
Howl of blizzard windsYes, the sunsets are crimson,
And the trembling of willowson the river bank."
Lyubov Polyakova
The roots of ancient Russian architecture go back to the depths of time. In Rus', the most common building material was wood. It was from him that Russian villages got their name. Temples, unique in beauty, light, harmonious, joyful, proportionate to man, were born from wood.
Russian village
There are countless villages and hamlets in the vast expanses of Russia. But they are all so different. In one, the huts climb up the slope and scatter along the stream, rolling over it. In another, houses look down from a cliff into the river, drowning in fragrant bird cherry trees. In the third, they are reflected in the shiny surface of the pond.
But all the villages fit so skillfully and organically into the surrounding nature that they seem to be its continuation. Russian craftsmen knew how to use the features of the landscape: a high river bank, the top of a slope, an intersection of roads, so that the structure could appear from its best side. The building and the surrounding nature existed in complete harmony. The construction of the building was treated as if it were painting icons. Of course, any man could install a square cage with one window and a flat pitched roof. But a proper house, with a basement, a porch with balusters, and carved decorations - towels and curtains - on the facade, and an upper room - only a true master can do. Obedient to a skillful hand, the tree could take any shape, making it possible to weave fancy lace when finishing it, or to put an intricate pattern on the entire wall.
Russian village. Artist Yartsev
The eighth wonder of the world
By the 17th century, Russian architects had reached such heights in their skill that any building: boyar mansions, churches and watchtowers were erected not only to be durable, but also decorated with imagination and invention to the delight of people. Looking like something out of a fairy tale, a huge wooden palace, built in 1666-1671 for Tsar Alexei Mikhailovich in the village of Kolomenskoye near Moscow, suddenly appeared before the admiring eyes of people. Everything that master woodworkers have achieved is contained in this work of art.
Turrets, passages, walkways, porches - the entire palace, decorated with rich carvings, decorated with tents, stacks, barrels, domes, multi-colored roofing and domes, shining with gilding, seemed like a real wonder of the world.
Palace of Alexei Mikhailovich in Kolomenskoye
By the end of the 18th century, by order of Empress Catherine, the palace was dismantled to the last log. In 2010, thanks to the preserved layout, this miracle was reconstructed, albeit in a new location.
Palace of Alexei Mikhailovich in Kolomenskoye. Reconstruction
Wooden fairy tale
Wood does not live long, and most of the richly and intricately decorated wooden buildings have not survived to this day. But there is the Kizhi Island on Lake Onega; here there is one of the few museums of wooden architecture. The pearls of this museum are two churches. Both of them are fabulously beautiful, but the 22-double-domed Transfiguration Church, created as if by magic, is especially beautiful.
“Domes, domes, domes... Twenty-two. The pointed “barrels” spread their wings to the sides - like the kokoshniks of Russian beauties. And on the ridges there are slender drums and onion-shaped heads with crosses, covered with the scales of a silver ploughshare. On northern white nights they glow with a mysterious phosphorescent sheen; at sunset they blaze with a solemn crimson... One tier, another, a third, a fourth... Higher, higher, and the top chapter, crowning this entire grandiose thirty-seven-meter pyramid, crashed into the very sky.” Opolovnikov A., Ostrovsky G. Wooden Rus'
Settlement.
The ancient Slavs built their settlements along the banks of rivers and surrounded them with palisades. The first settlements consisted of 3-5 houses. In the north of the settlement there were dugouts or half-dugouts, in the south there were huts.
Since ancient times, the main building materials for Russian architects were wood and clay, fortunately there was an abundance of both. It was wooden architecture that became the basis of the special style of Russian medieval architecture. The dwellings of Ancient Rus', with an abundance of forests, were entirely wooden, ranging from the hut of a poor peasant to the chambers of princes.
Dugout and half-dugout.
Already in ancient times, people strived to build a home for themselves, in which they could shelter from bad weather and build a fireplace. The Slavs have long had earthen and semi-earth dwellings.
The walls were made of wood. They were laid out on the sides of the earthen pit. The floor was made of clay. The entrance with earthen steps is always with south side. The roof is gable. It was made from plank, on which straw and a thick layer of earth were placed. The walls were covered with a thick layer of earth. The earth kept the house warm and protected from fires. The dugout had no windows, and the smoke from the stove came out through the door.
Izba.
The basis of Russian housing was a square log frame, or the so-called “cage”; and when this cage was equipped with a hearth or stove, it was called a “heater” or “hut.” It consisted of 1 insulated room and a vestibule. The hut had one door and a small window (20 by 40 cm), which was closed with a plank. It served for ventilation. The roofs of the first above-ground dwellings were covered with thatch.
Hearth.
The main place in the house was occupied by the stove, because it provided heat and was used for cooking. It was placed in the corner to the right or left of the entrance. Next to the stove was workplace housewives.
Each owner decorated his home, made openwork shutters, platbands, a porch, and placed a carved ridge on the roof. All these decorations protected the home from evil spirits.
Of course, the more prosperous the owner was, the more spacious his yard and the more complex his mansions; they contained several vestibules, cages and towers. A distinctive feature of the princely choir was the spacious entryway or dining room, in which the princes spent time with their retinue in council and feasts;
there were special cages for the stay of the regular gridi, or warriors, guarding the prince; such cages were called "gridnitsa".
Princely tower.
The princely towers were decorated with carved cornices and painted inside and outside with multi-colored paints. At the top along the knes there was apparently a ridge painted with various patterns and gilding; or perhaps the ceiling was decorated with gilding; at least the name of the tower “golden-topped” is found both in folk songs and in “The Tale of Igor’s Campaign.”
Terem (from the Greek roof, dwelling) is the upper residential tier of ancient Russian mansions or chambers, built above the upper room, or a separate high residential building on the basement. The epithet “high” has always been applied to the tower. In epics and fairy tales, Russian beauties lived in high chambers.
In the old days, the tower towering over the house was richly decorated. The roof was sometimes covered with real gilding. Hence the name Golden-Domed Tower. Around the towers there were walkways - parapets and balconies fenced with railings or gratings
The upper room was located above the basement and under the tower. The first mention of the upper room or gorenki is found in written sources, which date back to approximately 1162. And the word itself comes from “high”, i.e. high. The fundamental difference between the upper room and the hut is the red window. There is such a window - we are in the upper room. There is no such window - it's a hut. The room in the upper room was divided by partitions (walls) into chambers and closets
Another interesting structure is the lighthouse. Svetlitsa is an improved upper room. They were improved with red windows. There was a lot of light in this room, hence the name - the light room. In the small room, windows were cut in at least three walls (in the upper room - in 1-2). Svetlitsa, traditionally, were arranged in the women's half of the house and were intended for needlework.
We go down below and find ourselves from the upper room into the basement. The basements were used for household needs, as storage rooms (cellars) and for servants' residence. Accordingly, the basements were residential (with stoves and glass windows) and non-residential (cold, without windows and, often, without doors (cellars)).
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Russian wooden architecture Presentation by Anna Viktorovna Khizhnyak Khizhnyak Secondary School teacher, 2010
Purpose of the lesson: - to study the features of Russian wooden architecture; - understand the role and significance of churches in the life of the Russian people.
For many centuries of Russian history, wood remained the main building material. Forests covered most of the lands of Kievan Rus and all the lands of Veliky Novgorod, Vladimir-Suzdal, Tver and Moscow principalities. It was in wooden architecture that many construction and compositional techniques were developed that responded to the natural and climatic conditions and artistic tastes of the people, which later had a significant influence on the formation of stone architecture.
The Russian North is rightly called the treasury of Russian wooden architecture. Unaffected by the Mongol-Tatar invasion, the absence of serfdom, and remoteness from industrialized areas contributed to the development and preservation of this unique type of folk art.
In accordance with the canonical scheme, the basis of a church of the simplest type is a combination of three log buildings (cells): a larger, central one for the church itself and two smaller ones for the vestibule - the vestibule to the west and the altar (apse) to the east. Each log house was covered with a gable roof with a dome and a cross. This type of temple was called kletsky.
Time has preserved only a few of the oldest cellular churches. One of them is the Church of Lazarus from the Murom Monastery on the eastern shore of Lake Onega (now in the Kizhi Museum), felled in the 16th century. Small in size (length 9 meters, width 4 meters, height 5.5 m), it consists of two log cages (church and altar) and a planked vestibule. The accuracy of proportions and plasticity place this small church among the masterpieces of wooden architecture. Church of Lazarus from the Murom Monastery.
Church of the Deposition of the Robe from the village of Borodava, Vologda region
The church on stilts-pillars from the village of Spas-Vezhi, Kostroma region, felled in 1628 (now in the museum of wooden architecture on the territory of the Ipatiev Monastery near Kostroma) also belongs to the cage type of churches. Church from the village of Spas-Vezhi, Kostroma region.
The need to increase the area of temples led to the emergence of new planning techniques that made it possible to expand the area while maintaining the length of the logs. This is how churches appeared, cut into eights. This form, significantly increasing the area, made it possible to cut down the quadrangles of the vestibule and altar (apse) on two opposite sides, and the side chapels (chapels) on the other two sides. As a result, an octagonal church with four sections was born, or, as it was called in the old days, “round with twenty walls.” The prototype of such churches were multifaceted watchtowers - vezhi. The logic of covering eight-walled log houses led to the appearance of a tent. Not many tented temple-towers have survived. The most ancient of them is St. Nicholas Church in the village of Lyavlya, Arkhangelsk region, cut down in 1587.
From the end of the 11th century, churches with a baptismal plan and covered with a tent appeared. To do this, an octagon was placed on the middle square part of the church. This decision has been made by the Assumption Church in the village of Varzuga (1674) on the Kola Peninsula (Tersky coast of the White Sea). Here, on the central square of the cross-framed frame, a quadrangle is placed, on which rises a low octagon, covered with a tent. The branches of the “cross” are covered with barrels placed on top of one another. The upper ones are adjacent to the walls of the octagon and repeat the kokoshniks. A gallery with three porches adjoins the church on three sides below. From her, the gaze runs along the steps - tiers of kokoshnik barrels, is picked up by the vertical of the tent and rushes upward, to God. Assumption Church in the village of Varzuga.
An outstanding architectural work of the Onega school is the Assumption Church in the village of Kondopoga in Karelia (1774). This temple was a monument to those killed during the Kizhi uprising (1769-1771). The high quadrangle on the basement ends with a canopy, on which stands an octagon with two canopies, and is covered with a tent. Assumption Church in the village of Kondopoga in Karelia.
From the end of the 17th century, multi-tent churches began to be built. This gave them even greater picturesqueness and expressiveness. The Assumption Cathedral, erected in honor of the victory over the Swedes in 1714-1717, consists of three separate tented churches, adjacent on three sides to an extensive refectory, covered with two slopes. The tented aisles brought forward catch the upward desire, serve as a step on the path to heaven, to God. Assumption Cathedral (Kem).
In the 17th century, another form of finishing temples appeared - cubic, very stable under wind loads. The cube was usually crowned by a square frame in plan and ended with one or (after the ban on single-headedness) five chapters. Church of the Ascension from the village of Kushereka
Trinity Church in the village of Nenoksa
In the 17th-18th centuries, tiered churches became widespread, ending with several smaller log buildings, stacked on top of each other. Church of the Virgin Mary from the village of Kholm (Galitsky district, Kostroma region).
The last stage in the development of temple architecture was multi-domed temples, the basis of which was a three-dimensional construction based on the tiered principle. A typical version of a multi-domed octagonal crown standing on a quadrangle is represented by the Church of the Intercession (1764) b. Kizhi Pogost (Medvezhyegorsk region of Karelia) is one of the oldest settlements in Zaonezhie. On the roof of the octagon there are nine small octagons carrying chapters. Church of the Intercession b. Kizhi Pogost
The Transfiguration Church in Kizhi is the most complex, most ornate among all the monuments of northern wooden architecture. This is one of the greatest achievements of Russian and world architecture.
Russian wooden architecture was created by the talent and labor of many generations of architects and carpenters. Selecting and improving all the best, they developed constructive techniques in wood that corresponded to the properties of this material, and developed an original system of architectural forms that became the basis of national Russian architecture. Stone architecture, which is more resistant to the test of time, has retained many techniques that originated in folk wooden architecture.
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Architecture Architecture is a branch of the art of construction, dealing with the artistic decoration and construction of buildings in accordance with the laws of beauty.Slide 2
CHURCH OF ST. GEORGE IN LADOGA. St. George's Church is one of the most famous temples before the Mongol period. The temple is cubic in volume, massive at the base, with three semicircular apses. The helmet-shaped dome is topped by a light drum with eight windows. The height of the church is 15 meters. The facades with semicircles and slit windows (four on the northern and southern walls) are divided by blades in strict accordance with internal device temple. The arched belt of the drum is decorated with figured brick teeth. There is a completely plausible legend about the presence of twenty-year-old Prince Alexander Yaroslavich in the choir before the Battle of the Neva in 1240. “The Ladoga Bride” is what Ladoga residents call the Church of St. George for its amazingly light, slender appearance.
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CHURCH OF THE Savior on Nereditsa NEAR NOVGOROD. History Built in one season around 1198 under the Novgorod prince Yaroslav Vladimirovich. The temple is single-domed, cubic, with four pillars. Fresco paintings occupied the entire surface of the walls and represented one of the unique and most significant painting ensembles in Russia. On Gorodishche, around the church there was a Spaso-Nereditsky, or Spas on Gorodishche, monastery (attached to the Yuriev Monastery). During the Great Patriotic War The church was located in an area of active hostilities, and during 1941-1943 it was continuously shelled by artillery. As a result, only the eastern part of the church remained: the apses and small pieces of the northern and southern walls. Almost all the paintings were lost. The church was restored in 1956-1958. In 2001, the Novgorod architectural and archaeological expedition carried out excavations inside the temple. Among other numerous finds, sections of the original painting from 1199 were discovered behind the removed floor filler.
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ASSUMPTION CATHEDRAL IN VLADIMIR. From the original frescoes of the Assumption Cathedral, only fragments have survived to this day. The cathedral was again painted by Andrei Rublev and Daniil Cherny (1408). From the painting, individual images of the large composition “The Last Judgment”, which occupied the entire western part of the temple, have been preserved. A slender bell tower was built next to the cathedral in 1810. The bell tower is a four-tiered structure, with four corner pillars at the base, with arched openings (now blocked), and ending with a high gilded spire.
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Bogolyubovo is the former residence of Prince Andrei Bogolyubsky (ruled from 1157 to 1174). Bogolyubovo was founded in 1158 by order of Prince Andrei in this place, since the Nerl connected the Oka basin with the upper Volga basin. The foundation of Bogolyubov was associated by the clergy with the legend of the appearance of the Mother of God to Prince Andrei: when Prince Andrei was transporting the icon of the Mother of God from Vladimir to Rostov, 10 km before Vladimir the horses stopped, and no way could get them to go further. We spent the night at this place. That night the appearance of the Mother of God took place, and on this very spot a monastery was founded. Bogolyubovo - former residence of Prince Andrei Bogolyubsky
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DMITROVSKY CATHEDRAL IN VLADIMIR. Dmitrievsky Cathedral of the city of Vladimir (Dmitrovsky) is a court temple erected by Vsevolod the Big Nest at the princely court. Built in 1194-1197; according to chronicle data discovered in the 1990s.
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As building material wood has been used since ancient times. Wooden architecture in Rus' embodies a successful combination of utility and beauty. Many construction and artistic techniques, which fully met the conditions of life and culture of the people, were developed by Russian architects over thousands of years.
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Wooden architecture of Ancient Rus' originated in the northern regions of the country. It was there that the richest coniferous and deciduous forests were located. On the banks of the Pechora, Onega, and Northern Dvina, unique monuments of Ancient Rus' are still preserved. Dynasties of Russian architects have honed their skills for thousands of years, carefully preserved their professional tricks and passed them on to their sons.
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The northern region, which has long been famous for its forests, has raised on its land the most talented architects, whose works we still have the opportunity to admire. Not every tree was cut down for construction. They selected a pine tree in advance that met all the requirements of the craftsmen, and made notches on the trunk - they removed the bark in narrow strips, leaving stripes to preserve sap flow. After this, the tree was left alone for five years. During this time, she actively secreted resin, which abundantly impregnated the trunk. Only after that, in the cold autumn, was it cut down. The old masters did not advise cutting later - it would start to rot. Aspen and other deciduous trees were harvested in the spring, during sap flow. At this time, the bark was easily removed from the trunk, and the log, dried in the sun, became as strong as bone.
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The wooden architecture of Ancient Rus' is also unique in that, as a rule, the only tool of the master was an ax. Despite the fact that saws had already been known since the tenth century, they were used only in carpentry. The saw was believed to tear wood fibers and leave them exposed to water. Moreover, they tried not to use nails - around them the wood begins to deteriorate faster. If necessary, wooden crutches were used.
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The basis of wooden buildings in Rus' was a log house - seasoned logs fastened into a quadrangle. The row of logs was respectfully called the “crown.” The lowest crown was often installed on a stone base - a ridge made of powerful boulders. Thus, the house became warmer and less rotten. The architecture of Ancient Rus' differed from European architecture in that there were no differences in the construction of a house and a temple. The most ancient and simplest form was “kletskaya”. Thus, temples and chapels were built. These are three log buildings that are interconnected and located from west to east. The wooden architecture of Ancient Rus' began to develop rapidly in the fifteenth century, when the first wooden bell towers appeared. The most ancient belfries were built in the Novgorod and Pskov lands.
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