Church art is significantly different from secular. Firstly, it performs several functions. Indeed, besides the fact that it provides an aesthetic component, it also performs a cult role. Through the works of church art, man learns the divine. The pinnacle of this type of art is considered to be works that equally embodied these two areas.
By eras
In the history of church art, the Middle Ages are notable. It was in those gloomy times that its real prosperity began. It acquired symbolism, since it was believed that only the symbols fully conveyed something divine. Also, all types of church art were canonical, that is, they always fit into certain frames. For example, when writing icons, the master carefully followed the established canons.
Image Features
The most important canon in the writing of icons was considered the elevation of the sacred image over everything earthly. For this reason, there was a lot of static in this type of church art, a golden background that emphasized the conventionality of the plot. The entire set of artistic means was aimed precisely at creating a similar effect.
Even the images of objects were not given in the way a person would have seen them, but as a divine entity would have seen them. Since it was believed that it does not focus at a certain point, but hovers everywhere, objects were depicted in several projections. Also in church art, time is depicted in accordance with the same canons - from the position of eternity.
Kinds
There are many varieties of church art. Its synthesis was manifested in churches. These religious buildings embodied a combination of painting, applied art, and music. Each species is studied separately.
Christian art development
It is important to consider that before the advent of modern church art, it managed to go through more than one stage. Their change is due to various stages in the cultural development of society. The formation of ancient Russian church art took place under Byzantine influence. Its development begins from the moment when Vladimir brought Christianity to Russia. In culture, this, in fact, was a transplant operation, because until that moment there were no similar traditions in the country. He was removed from another society and transplanted into the body of Russia. The church art of Ancient Russia began to develop from the borrowing of well-thought-out monuments, places of worship and rich ideas.
For this reason, Christianity had several advantages over paganism. Compared with the majestic churches of church art in Russia, ancient monuments with altars lost in an aesthetic sense. In the latter there was a dominance of flies that always accompanied the sacrifice. In new temples in the sun, golden domes glittered, mural paints, religious clothes played, music struck people unaccustomed to such a thing.
About adopting a new style
In a new style for the Slavs, a special worldview was reflected, which reflected the cosmic nature of man, impersonality. Man and nature were not oppositions of each other. Culture with nature was in harmony, and man was not a central figure.
Monumental historicism
It was these ideas that were fully reflected in the style of church art in Russia - monumental historicism. It gained distribution in the X-XIII centuries. The experience of Byzantium was transferred to the worldview of barbarian society.
It is noteworthy that in the general European Romanesque style, in line with which Russian church art developed before the Mongol-Tatar yoke, the personality was also weakly expressed. Every building of that era reflects the national creation through the prism of Christian ideas. Man strove to feel himself as a cultural element, to achieve a sense of integrity.
When Yaroslav the Wise came to power, the largest Russian cities acquired their St. Sophia Cathedrals. They were erected in Kiev, Novgorod, Polotsk. The training of Russian masters took place with Greek craftsmen.
In the era of feudal fragmentation of the XII-XV centuries, the local nobility chose national forms. Then, in the fine, architectural, church and singing art, the characteristic features of a particular locality are more clearly manifested. Before, a single state disintegrated, and in each of its islands appeared its own. This was reflected in art, which has now become diverse.
In the paintings of Vladimir and Novgorod, the traditions of Byzantium are manifested - the aristocracy of lines, images and shades. Often, masters from Greece were invited to work. The architecture was influenced by Romanesque traditions. Sometimes German masters left their mark here. In addition, a number of the most famous surviving monuments - the Assumption, Dmitrievsky Cathedrals - reflected the influence of the pagans. Sacred birds, a tree appear here, the image of a person does not dominate. This is a reflection of the mentality of a person of that era.
But in Novgorod and Pskov, the latter defeat the princes against the boyars, unlike other Russian cities of that era. And here the temples differ significantly from Vladimir. Here the temples are squat, their colors are bright. Animals and people are buried in the ornaments that folk craftsmen loved so much.
Mongol-Tatar yoke
Having passed through Russia with fire and sword, the Mongol-Tatar tribes destroyed many art samples of those times. Destroyed entire cities with their magnificent buildings, craftsmen. The vast territories that were once inhabited by the Slavs were empty, while Poland, Lithuania and the Livonian Order seized the western Russian lands.
Culture glistened in Novgorod and the Vladimir-Suzdal principality. But here art was in a real decline. And only from the XIV century does its rise begin, which was called the Pre-Revival.
This was a specific socio-cultural state of society, which was reflected in all forms of art. At this time in the mentality of people ideas arose about individuality, personality, creators began to search for a new one. In Russia, it began to develop under the influence of Byzantium.
The traditions of Novgorodian art were attacked by Theophanes the Greek. His energetic strokes, spaces and expression had a massive impact on the art of those times.
At the same time, the national genius of painting appeared - Andrei Rublev. His works reflected humanistic ideas, the softness of lines. They are considered the most real masterpieces of all time. He combined the divine essence and human features in the same images.
The ascension period of Moscow
In the last third of the 15th century, events took place that marked the beginning of a new stage in the development of Russian culture. Moscow, subjugating its competitor Novgorod, became the center of Russian principalities. A long era of monarchy began. Centralization affected both the worldview and the development of Orthodox church art.
Beginning of the Pre-Revolution and resulted in the Renaissance in Russia, being crushed by the reign of Ivan the Terrible. All related to the reformation processes were defeated. Many figures were executed, exiled, tortured. In the struggle of non-possessors who opposed church property and the Josephites who followed Joseph Volotsky, who advocated the union of the state and the church, the latter defeated.
Freedom in a monarchical state is becoming less. Its adherents - boyars, princes - die in mass executions. The enslavement of the peasantry takes place, civil liberties disappear, nobles appear, who were faithful royal servants. Then the model of "master and slaves" arises in Russian history. Individuality falls into the shackles of the state.
In temples
The processes of this period are fully reflected in church art. Temples began to express the ideas of centralization, they are strict, emphasize the new state style. The culture of those years symbolizes the victory of Moscow. This is clearly seen in the exhibits of the Patriarchal Museum of Church Art. All local architectural features come to naught, everywhere there is a reference to the Assumption Cathedral in Moscow.
However, there are also tent churches. They are distinguished by high height, rich decoration, lighting. They almost completely lack internal paintings.
In painting
However, in the art of the XV-XVI centuries there is a preservation of the ruble traditions. The most famous masters of that era imitate him. In the middle of the century, a turning point in artistic culture was observed: in 1551 the Stoglavy Cathedral appeared. The strictest supervision of painting begins. The intercultural relations "center-province" are being laid. The best masters of other lands are brought to Moscow. Painting absorbs sophistication, rich colors, elaboration of details.
New time
With the beginning of the XVII century, a New time comes when a traditional society is undergoing major changes. This happens due to the events of the Time of Troubles, numerous military operations. The monarchy becomes absolute, opposition boyars with the church are subordinated to a strict vertical of power. With the Council Code of 1649 all the estates of the country are enslaved.
And against this background, human emancipation processes that are natural for the whole world are triggered. But in Russia this happens under state oppression. Coming out of the control of the church, the person finds himself in even more rigid hands of the state. The presence of internal individualization, combined with complete lack of rights, lack of legal freedom and forms the features of the mysterious Russian soul.
Culture is characterized by secularization, which manifested itself in the earthliness of motives, while the celestial recedes into the background. Even the heavens now Russian people look with earthly eyes.
However, there is a tendency toward democratization in church architecture. The cult buildings showed more external decoration, patterns. But the construction is already carried out not in the name of the divine, but for man. This explains the aesthetics of buildings.
Church painting is also characterized by changes. More and more worldly stories are featured here. Artists try to write as it happens in life. The history of the formation of Russian statehood is also reflected in painting.
Subsequently, the Russian Empire began to erect monuments symbolizing its power. This was manifested in the luxury of temples, which incorporated features of secular architecture.
Throughout the 17th century, many changes were introduced into church life. Careful supervision of the creation of icons is carried out. At the time of writing, compliance with canons is observed. In the provinces, the influence of pre-Petrine traditions has been preserved for many years.
The features of Russian spiritual life of the 19th century were fully reflected in architectural excellence. For the most part, this is visible in St. Petersburg. It was here that buildings were erected that overshadowed the beauty of the Mother See of Moscow. The city grew very fast, unlike the ancient capital. It had a single meaning - it should become a great European power.
In 1748, the famous Smolny Monastery was erected. It is built in baroque style. But here many incarnate Russian features found embodiment. The monastery was erected in a closed form. The cells were arranged in the shape of a cross around the cathedral. Temples with one dome were built at the corners of the composition. At the same time, symmetry was observed here, which was not characteristic of the ancient Russian monasteries.
In Moscow of that era, baroque also reigned and classicism manifested itself. Thanks to this, the city also gained European features. One of the most beautiful churches of that era is the church of St. Clement on Pyatnitskaya Street.
The peak of the architecture of the XVIII century was the bell tower of the Trinity-Sergius Lavra. It was erected in Moscow in 1740-1770.
Church singing also develops separately. In the XVII century, it was significantly influenced by Western traditions. Until that moment, church music was represented by Polish-Kiev singing. It was brought in the capital of Russia by Alexei Mikhailovich Silent. It combined innovations and ancient motives. But already in the middle of the century, musicians from Italy and Germany entered the St. Petersburg Chapel. Then they brought the features of European singing art. In church singing, concert notes appeared brightly. And only monasteries and villages preserved the ancient church singing. Some works of that era have survived to this day.
About contemporary art
There is a point of view that contemporary Russian art is in decline. This was so until recently. At the moment, construction is developing very actively - a lot of churches are being built in the country.
However, connoisseurs of architecture note that an incredible mixture of styles is taking place in modern churches. So, the icon painting under Vasnetsov is adjacent to the pre-Petrine carving and construction in the spirit of the Ostankino church.
Also, experts are of the opinion that modern architects are fixated on the external content of churches, no longer expressing the divine nature that they were originally called to reflect.
At the moment, in the temples, for example, the chapters of St. Basil the Blessed with the bell of the Nativity in Putinki are being arranged. Copies do not win in comparison with the originals. Often the task is put forward simply to repeat the already erected building, and this also does not contribute to the development of architectural thought in the country. There is a tendency, expressed in the fact that the architect follows the lead of customers who make demands in accordance with their vision of art. And the artist, seeing that it turns out a pit of art instead of creativity, continues to implement the project anyway. Thus, modern architectural church art is going through hard times. Society does not contribute to its development in the future.
And experts in the relevant field note this trend, predicting its development in the future. But attempts to revive this area are made on an ongoing basis. And it is possible that in the future this will bring tangible results, and a peculiar revival of church art in the country will come.