My secret

When Christianity was adopted in Rome in the 4th century AD, and the persecution of its representatives ended, church architecture began to develop. This process was largely influenced by the division of the Roman Empire into two parts - Western and Byzantine. This influenced the development of the basilica in the West. In the East, the Byzantine style of church architecture gained popularity. The latter is reflected in religious buildings in Rus'.

Types of Orthodox churches

There were several types of church architecture in Rus'. The temple in the shape of a cross was built as a symbol of the fact that the Cross of Christ is the foundation of the church. It was thanks to him that people were freed from the power of devilish forces.

If the architecture of cathedrals and churches is presented in a circular form, this symbolizes the infinity of the existence of the Church.

When the temple is built in the form of an eight-pointed star, it represents the Star of Bethlehem, which led the Magi to where Jesus was born. The architecture of churches of this type is a symbol of the fact that human history is counted in seven long periods, and the eighth is eternity, the Kingdom of Heaven. This idea originated in Byzantium.

Often the architecture of Russian churches included buildings in the shape of ships. This is the most ancient variation of the temple. Such a building contains the idea that the temple saves believers, like a ship, from the waves of life.

In addition, architecture is often a mixture of these types. Religious buildings combine circular, cross and rectangular elements.

Byzantine traditions

Religious buildings here were different, but in Orthodoxy each temple reflected a certain creed. In any church architecture, certain conditions were observed. For example, each temple remained two- or three-part. For the most part, the Byzantine style of church architecture was manifested in the rectangular shape of the buildings, figured roofing, vaulted ceilings with arches and pillars. It was reminiscent of the interior of a church in the catacombs. This style also passed into Russian church architecture, imbued with additional characteristic features.

In the middle of the dome was the Light of Jesus. Of course, the similarity of such buildings to catacombs is only general.

Sometimes churches - architectural monuments - have several domes at once. Orthodox places of worship always have crosses on their domes. By the time Orthodoxy was adopted in Rus', the cross-domed church became popular in Byzantium. He combined all the achievements in Orthodox architecture available at that time.

Cross-domed churches in Rus'

This type of church also developed in Byzantium. Subsequently, it began to dominate - this happened in the 9th century, and then was adopted by the rest of the Orthodox states. Some of the most famous Russian churches - architectural monuments - were built in this style. These include the St. Sophia Cathedral in Kyiv, St. Sophia of Novgorod, and the Assumption Cathedral in Vladimir. They all copy the St. Sophia Cathedral in Constantinople.

For the most part, Russian architectural history is based on churches. And cross-domed structures play a leading role here. Not all variations of this style were widespread in Rus'. However, many examples of ancient buildings are of the cross-dome type.

A design of this kind transformed the very consciousness of ancient Russian people, drawing their attention to an in-depth contemplation of the universe.

Although many architectural features of Byzantine churches were preserved, churches built in Rus' from ancient times had many distinctive unique features.

White stone rectangular churches in Rus'

This type is closest to the Byzantine variations. The basis of such buildings is a square, which is complemented by an altar with semicircular apses and domes on a figured roof. The spheres here are replaced by helmet-shaped coverings of domes.

In the middle of small buildings of this type there are four pillars. They serve as support for the roof. This is the personification of the evangelists, the four cardinal directions. In the center of such a building there are 12 or more pillars. They form the signs of the Cross and divide the temple into symbolic parts.

Wooden temples in Rus'

In the 15th-17th centuries, a completely unique style of constructing religious buildings appeared in Russia, which was radically different from their Byzantine counterparts.

Rectangular buildings with semicircular apses appeared. Sometimes they were white stone, and sometimes they were brick. There were walkways around the walls. The roof was figured, with domes in the shape of poppies or bulbs placed on it.

The walls were decorated with elegant decoration, windows with stone carvings and tiled trims. A bell tower was placed near the temple or above its porch.

A lot of unique features of Russian architecture appeared in the wooden architecture of Rus'. In many ways, they appeared due to the characteristics of the tree. It is quite difficult to form a smooth dome shape from boards. For this reason, in wooden churches it was replaced by a pointed tent. In addition, the entire building took on the appearance of a tent. This is how unique buildings appeared, which had no analogues in the world - churches made of wood in the shape of large pointed wooden cones. There are known churches in the Kizhi churchyard, which are the brightest representatives of this style.

Stone tented churches in Rus'

Soon the features of wooden churches influenced stone architecture. Stone tented temples appeared. The highest achievement in this style is the Intercession Cathedral in Moscow. It is known as St. Basil's Cathedral. This intricate structure dates back to the 16th century.

This is a cruciform structure. The cross is formed by four main churches, which are located around the central one - the fifth. The last one is square, while the others are octagonal.

The tent style was popular for a very short period of time. In the 17th century, the authorities prohibited the construction of such buildings. They were bothered by the fact that they were very different from ordinary ship temples. Tent architecture is unique; it has no analogues in any culture in the world.

New stylistic forms

Russian churches were distinguished by their diversity in decoration, architecture, and decorations. Colorful glazed tiles have become especially popular. In the 17th century, Baroque elements began to dominate. Naryshkin Baroque put symmetry and completeness of multi-tiered compositions at the heart of everything.

The works of the capital's architects of the 17th century - O. Startsev, P. Potapov, Y. Bukhvostov and a number of others - stand out. They were some harbingers of the era of Peter's reforms.

The reforms of this emperor affected, among other things, the architectural traditions of the country. The architecture of the 17th century in Russia was determined by the fashion of Western Europe. There were attempts to achieve a balance between Byzantine traditions and new stylistic forms. This was reflected in the architecture of the Trinity-Sergius Lavra, which combined ancient traditions and new trends.

During the construction of the Smolny Monastery in St. Petersburg, Rastrelli decided to reflect Orthodox traditions in the construction of monasteries. However, the organic combination did not work out. The 19th century saw a revival of interest in the architecture of the Byzantine era. It was only in the 20th century that attempts were made to return to medieval Russian architectural traditions.

Church of the Intercession on the Nerl

The architecture of the Church of the Intercession on the Nerl is famous throughout the world. It is distinguished by lightness and lightness; it is a true masterpiece of the Vladimir-Suzdal architectural school. The grace manifested in the architecture of the Church of the Intercession on the Nerl became possible thanks to the ideal combination of the building with the environment - Russian nature. It is noteworthy that the temple is included in the UNESCO list of world monuments.

The building reflects the path upward, to God, and the road to it is a kind of pilgrimage. Information about the church is preserved in the Life of Andrei Bogolyubsky. It was erected in 1165, it was a memorial for the prince's son Izyaslav. He died in the war with Volga Bulgaria. According to legend, the white stones were transported here from the defeated Bulgarian principality.

It is noteworthy that descriptions of the architecture contain many comparisons of this building with a white swan floating on water. This is the bride standing at the altar.

All that remains of the building dating back to the 12th century is a square frame with a dome. Everything else turned out to be destroyed over time. The restoration took place in the 19th century.

The descriptions of the architectural monument of the Church of the Intercession on the Nerl contain information about the verticality of the walls. But due to the measured proportions, they look inclined; due to this optical effect, the building looks taller than it actually is.

The church has a simple, no-frills interior. The frescoes were knocked off the walls during the restoration in 1877. However, there is an iconostasis with icons.

There are many wall reliefs left on the outer surface. Biblical figures, birds, animals fly by here, and there are also masks. The central figure is King David, who reads the psalms. At his side is a lion, the personification of his power. There is a dove nearby - a sign of spirituality.

Church of the Ascension in Kolomenskoye

The first stone type in Rus' is the Church of the Ascension in Kolomenskoye. Its architecture reflects the influence of the Renaissance. It was erected by Vasily III in honor of the birth of his heir, Tsar Ivan IV the Terrible.

The architectural features of the Church of the Ascension are manifested in the cruciform shape of the building, which turns into an octagon. A large tent rests on it, in turn. It overshadows the interior space of the church. It is noteworthy that there are no pillars. The temple, distinguished by its expressive silhouette, is surrounded by a gallery with staircase descents. They are executed quite solemnly.

The church has a lot of additional details that migrated here from the Renaissance. At the same time, there are many features from the Gothic. Italian bricks, the connection of the building with the centric shape of the temples of Italy give a hint that this project was created by an Italian architect who worked at the court of Basil III. Accurate information about the author has not survived to this day, but, according to assumptions, it was Petrok Maloy. It was he who was the author of the Church of the Ascension in the Moscow Kremlin, the walls and towers of Kitay-Gorod.

Pskov-Novgorod churches

In addition to generally accepted world classifications, it must be taken into account that in each principality architecture acquired its own unique features. In the art of architecture there is never a pure style, and this division is also only conditional.

The following distinctive features appeared in the architecture of Novgorod: most often the temples here had five domes, but there were also buildings with one dome. Their shape was cubic. They were decorated with arches and triangles.

Vladimir-Suzdal churches

Architecture flourished here during the times of Andrei Bogolyubsky and Vsevolod III. Then a church with a palace was erected here. They glorified the capital of the principality. Here stone was skillfully processed and techniques from wooden architecture were used.

In the 12th century, first-class structures made of high-quality white stone - limestone - rose here. The most ancient of them had simple decorations. The windows in the temples were narrow, they more likely resembled slits of loopholes rather than windows. The decoration of churches with stone carvings began in the 12th century. Sometimes it reflected folklore subjects, sometimes the Scythian “animal style”. The presence of Romanesque influences is also noted.

Kiev-Chernigov churches

The architecture of this principality reflects monumental historicism. It is divided into cathedral and tower-type architecture. Cathedral churches have circular galleries and a uniform rhythm of façade divisions. The architecture of this type is quite figurative, the symbolism is complex. For the most part, the buildings of this principality are represented by princely court buildings.

Smolensk-Polotsk churches

When Smolensk architecture was just developing, there were no architects here yet. Most likely, the first buildings here were erected thanks to the participation of Kiev or Chernigov residents. In Smolensk churches there are many marks on the ends of the bricks. This indicates that, most likely, Chernigov residents left their mark here.

The architecture of these cities is distinguished by its scope, which speaks in favor of the fact that in the 12th century they already had their own architects.

Smolensk architecture was popular in Rus'. Architects from here were called to many other ancient Russian lands. They also built buildings in Novgorod, which was the largest center in the country. But this rise was short-lived - it lasted 40 years. The thing is that in 1230 an epidemic broke out, after which the political situation in the city changed greatly. This was the end of the work of local architects.

Godunov style

Conventionally, temples in the style of Godunov classicism also stand out. These were churches built during the period when Boris Godunov (1598-1605) sat on the throne of Rus'. Then construction techniques were canonized, reflected in the symmetry and compactness of buildings.

In addition, Italian order elements have become popular. The Russian style turned out to be canonized in the Italian manner.

The variety of structures has decreased. But stylistic unity came to the fore. This manifested itself not only in Moscow, but throughout Rus'.

Patterned

The style called patterned is also noteworthy. It appeared only in the 17th century in Moscow. It is characterized by intricate shapes, decor, and complex compositions. Silhouettes in this style are incredibly picturesque. Patterning is associated with pagan roots and the late Renaissance in Italy.

For the most part, buildings in this style are represented by churches with closed vaults, without pillars and with high refectories. They have a tent covering. The interior is unusually rich in colored ornaments. There is a lot of decor inside.

Stroganov churches

Churches built in the Stroganov style also gained great fame. It appeared in the 17th and 18th centuries. This style acquired its name thanks to G. Stroganov, since it was he who ordered such buildings. Here the traditional five-headed silhouette appeared. But baroque decor is applied on top of it.

Totem style

Baroque, which manifested itself most clearly in St. Petersburg, was also reflected in the buildings of the Russian north. In particular, in the city near Vologda - Totma. The uniqueness of the architecture of his buildings led to the emergence of the “Totem Baroque”. This style appeared in the 18th century; already in the next century there were at least 30 temples built in this style. But in the same century, many of them were rebuilt. At the moment, they are mostly destroyed or remain in disrepair. The features of this style were adopted during the sea voyages of local merchants. They were the customers of these churches.

Ustyug style

Some of the earliest religious buildings in Veliky Ustyug were buildings dating back to the 17th century. It was at that moment that the foundations of stone architecture began to appear here. The architectural style of this area flourished in the 17th century. Construction continued on its features for just over 100 years. During this time, many local architects appeared in Veliky Ustyug, who were distinguished by their great talent and unprecedented skill. They left behind many unique churches. At first, five-domed churches with side chapels were common. And in the 18th century, temples with a longitudinal axis gained popularity.

Ural temples

The Ural architectural style also deserves special mention. It appeared in the 18th century, during the era of Peter the Great. He strived for reforms, including in architecture. The main feature of this style was manifested in the five-domed structure on a tiered basis. For the most part, he borrowed features of Baroque and Classicism. In the Ural cities, buildings were often erected in the style of ancient Russian architecture. This demonstrated the uniqueness of Ural architecture.

Siberian style

Modernist traditions were reflected in their own way in the Siberian style. In many ways, the peculiarities of the climatic conditions of the region itself were manifested here. Folk craftsmen formed their own special vision of the Siberian schools of modernity - Tyumen, Tomsk, Omsk and so on. They created their own unique mark among the monuments of Russian architecture.

The rapid development of temple construction in our time, in addition to its positive beginning, also has a negative side. First of all, this concerns the architecture of the church buildings being built. There are often cases when architectural solutions depend on the taste of the donor or the rector of the temple, who do not have the necessary knowledge in the field of temple architecture.

The State of Modern Church Architecture

The opinions of professional architects on the problem of modern church architecture are very different. Some believe that the tradition interrupted after 1917 today should begin from the moment it was forced to stop - with the Art Nouveau style of the early twentieth century, in contrast to the modern cacophony of architectural styles of the past, chosen by architects or clients according to their personal taste. Others welcome innovation and experimentation in the spirit of modern secular architecture and reject tradition as outdated and not in keeping with the spirit of modernity.

Thus, the current state of the architecture of Orthodox churches in Russia cannot be considered satisfactory, since the correct guidelines for searching for architectural solutions for modern churches and the criteria for assessing past experience, which is often used under the guise of following tradition, have been lost.

For many, the necessary knowledge of the traditions of Orthodox temple building is replaced by thoughtless reproduction of “samples” and stylization, and by tradition is meant any period of domestic temple building. National identity, as a rule, is expressed in copying traditional techniques, forms, and elements of the external decoration of churches.

In the Russian history of the 19th and 20th centuries there was already an attempt to return to the origins of Orthodox temple building, which in the middle of the 20th century led to the emergence of the Russian-Byzantine style, and at the beginning of the 20th century the neo-Russian style. But these were the same “styles,” only based not on Western European, but on Byzantine and Old Russian models. Despite the general positive direction of this turn to historical roots, only “samples” as such, their stylistic characteristics and details served as support. The result was imitative works, the architectural solution of which was determined by the level of knowledge of the “samples” and the degree of professionalism in their interpretation.

In modern practice, we observe the same picture of attempts to reproduce “samples” from the entire variety of diverse heritage without penetrating into the essence, into the “spirit” of the designed temple, to which the modern architect-temple-maker, as a rule, has no relation, or he lacks enough to do so. sufficient education.

Church buildings, which in Orthodoxy, like icons, are shrines for believers, with the superficial approach of architects to their design, cannot possess the energy of grace that we certainly feel when contemplating many ancient Russian churches built by our spirit-bearing ancestors in a state of humility, prayers and reverence before the shrine of the temple. This humbly repentant feeling, combined with fervent prayer for the sending of God’s help in the creation of the temple - the house of God, attracted the grace of the Holy Spirit, with which the temple was built and which is present in it to this day.

The creation of every Orthodox church is a process of co-creation between man and God. An Orthodox church must be created with the help of God by people whose creativity, based on personal ascetic, prayerful and professional experience, is consistent with the spiritual tradition and experience of the Orthodox Church, and the images and symbols created are involved in the heavenly prototype - the Kingdom of God. But if the temple is not designed by church people only by looking at photographs of temples in textbooks on the history of architecture, which in these textbooks are considered only as “architectural monuments”, then no matter how “correctly” the temple was executed, faithfully copied from such a “model” with necessary corrections related to modern design requirements, then the believing heart, which seeks true spiritual beauty, will certainly feel the substitution.

It is extremely difficult to objectively evaluate only on formal grounds what is being built today. Many people, who often come to church with a heart hardened by years of godlessness, may not have any acute thoughts about the discrepancy between what is happening in the church and what they see in front of them. People who are not yet fully included in church life, like people with an undeveloped ear for music, will not immediately sense these false notes. Details familiar to the eye and often an abundance of decorations under the guise of splendor can overshadow untrained spiritual vision and even to some extent please the worldly eye without raising the mind to grief. Spiritual beauty will be replaced by worldly beauty or even aestheticism.

We need to realize that we must think not about how best to continue the “tradition”, understood from the point of view of architectural theorists, or to create an earthly beautiful temple, but how to solve the problems facing the Church, which do not change, despite what changes in architectural styles. Temple architecture is one of the types of church art that is organically included in the life of the Church and is designed to serve its goals.

Basics of Orthodox Church Architecture

1. Traditionality

The immutability of Orthodox dogmas and the order of worship determines the fundamental immutability of the architecture of an Orthodox church. The basis of Orthodoxy is the preservation of the teachings of Christianity, which was consolidated by the Ecumenical Councils. Accordingly, the architecture of the Orthodox church, reflecting this unchanging Christian teaching through the symbolism of architectural forms, is extremely stable and traditional in its core. At the same time, the variety of architectural solutions of churches is determined by the features of its functional use (cathedral, parish church, monument church, etc.), capacity, as well as the variability of elements and details used depending on the preferences of the era. Some differences in church architecture observed in different countries professing Orthodoxy are determined by climatic conditions, historical development conditions, national preferences and national traditions associated with the characteristics of the people's character. However, all these differences do not affect the basis of the architectural formation of an Orthodox church, since in any country and in any era the dogma of Orthodoxy and the worship for which the church is built remain unchanged. Therefore, in Orthodox church architecture there should not be any “architectural style” or “national direction” at its core, other than the “universal Orthodox”.

The convergence of church architecture with the style of secular buildings, which occurred during the New Age, was associated with the penetration of the secular principle into church art in connection with the negative processes of the secularization of the Church imposed by the state. This affected the weakening of the figurative structure of church art in general, including the architecture of the temple, its sacred purpose to be an expression of heavenly prototypes. Temple architecture in that period largely lost the ability to express the innermost content of the temple, turning into pure art. Temples were perceived this way until recently - as architectural monuments, and not as the house of God, which is “not of this world,” and not as a shrine, which is natural for Orthodoxy.

Conservatism is an integral part of the traditional approach, and this is not a negative phenomenon, but a very cautious spiritual approach to any innovation. Innovations are never denied by the Church, but very high demands are placed on them: they must be revealed by God. Therefore, there is a canonical tradition, that is, following the models accepted by the Church as corresponding to its dogmatic teaching. The samples used in the canonical tradition of temple building are necessary for architects to imagine what and how to do, but they have only pedagogical significance - to teach and remind, leaving room for creativity.

Today, “canonicity” often means the mechanical fulfillment of some mandatory rules that constrain the creative activity of the architect, although there has never been any “canon” as a set of mandatory requirements for church architecture in the Church. The artists of antiquity never perceived tradition as something fixed once and for all and subject only to literal repetition. The new that appeared in temple building did not change it radically, did not deny what had happened before, but developed the previous one. All new words in church art are not revolutionary, but successive.

1. Functionality

Functionality means:

Architectural organization of a meeting place for Church members for prayer, listening to the word of God, celebrating the Eucharist and other sacraments, united in the rite of worship.

Availability of all necessary auxiliary premises related to worship (panoramic hall, sacristy, church shop) and the stay of people (dressing room, etc.);

Compliance with technical requirements related to the presence of people in the temple and the operation of the temple building (microclimatic, acoustic, reliability and durability);

The cost-effectiveness of the construction and operation of church buildings and structures, including construction in queues using optimal engineering and construction solutions, the necessary and sufficient use of external and internal decoration.

The architecture of the temple should, by organizing the space of the temple, create conditions for worship, congregational prayer, and also, through the symbolism of architectural forms, help to understand what a person hears in the word of God.

1. Symbolism

According to the church theory of the relationship between the image and the prototype, architectural images and symbols of the temple, when performed within the framework of the canonical tradition, can reflect the prototypes of heavenly existence and associate with them. The symbolism of the temple explains to believers the essence of the temple as the beginning of the future Kingdom of Heaven, puts before them the image of this Kingdom, using visible architectural forms and means of pictorial decoration in order to make the image of the invisible, heavenly, Divine accessible to our senses.

An Orthodox church is a figurative embodiment of the dogmatic teaching of the Church, a visual expression of the essence of Orthodoxy, an evangelical sermon in images, stones and colors, a school of spiritual wisdom; a symbolic image of the Divine Himself, an icon of the transformed universe, the heavenly world, the Kingdom of God and paradise returned to man, the unity of the visible and invisible world, earth and sky, the earthly Church and the heavenly Church.

The form and structure of the temple are connected with its content, filled with Divine symbols that reveal the truths of the Church, leading to heavenly prototypes. Therefore they cannot be changed arbitrarily.

1. beauty

An Orthodox church is the center of all the most beautiful things on earth. It is splendidly decorated as a place worthy for the celebration of the Divine Eucharist and all the sacraments, in the image of the beauty and glory of God, the earthly house of God, the beauty and greatness of His Heavenly Kingdom. Splendor is achieved by means of architectural composition in synthesis with all types of church art and the use of the best possible materials.

The basic principles for constructing the architectural composition of an Orthodox church are:

The primacy of the internal space of the temple, its interior over the external appearance;

Construction of internal space on a harmonious balance of two axes: horizontal (west - east) and vertical (earth - sky);

Hierarchical structure of the interior with the primacy of the dome space.

Spiritual beauty, which we call splendor, is a reflection, a reflection of the beauty of the heavenly world. Spiritual beauty coming from God should be distinguished from worldly beauty. The vision of heavenly beauty and co-creation in “synergy” with God made it possible for our ancestors to create temples, the splendor and grandeur of which were worthy of heaven. The architectural designs of ancient Russian churches clearly expressed the desire to reflect the ideal of the unearthly beauty of the Kingdom of Heaven. Temple architecture was built mainly on the proportional correspondence of parts and the whole, and decorative elements played a secondary role.

The high purpose of the temple obliges the temple builders to treat the creation of the temple with maximum responsibility, to use all the best that modern construction practice has, all the best means of artistic expression, however, this task must be solved in each specific case in its own way, remembering the words of the Savior about the preciousness and two mites brought from the bottom of my heart. If works of church art are created in the Church, then they must be created at the highest level imaginable under the given conditions.

1. In the field of architecture of a modern Orthodox church

The guideline for modern temple builders should be a return to the original criteria of church art - solving the problems of the Church with the help of specific means of temple architecture. The most important criterion for assessing the architecture of a temple should be the extent to which its architecture serves to express the meaning that was laid in it by God. Temple architecture should be considered not as art, but, like other types of church creativity, as an ascetic discipline.

In the search for modern architectural solutions for a Russian Orthodox church, the entire Eastern Christian heritage in the field of temple construction should be used, without limiting itself only to national tradition. But these samples should not serve for copying, but for insight into the essence of the Orthodox church.

When constructing a temple, it is necessary to organize a full-fledged temple complex that provides all the modern multifaceted activities of the Church: liturgical, social, educational, missionary.

Preference should be given to building materials based on natural origin, including brick and wood, which have a special theological justification. It is advisable not to use artificial building materials that replace natural ones, as well as those that do not involve manual human labor.

1. In the field of decisions made by the Church

Development of “exemplary” economical designs for churches and chapels of various capacities that meet the modern requirements of the Church.

Involvement of professional church architects in the work of diocesan structures in church construction. Establishment of the position of diocesan architect. Interaction with local architectural authorities in order to prevent the construction of new churches that do not meet the modern requirements of the Church.

Publication in church publications of materials on issues of temple construction and church art, including new designs of churches with an analysis of their architectural and artistic advantages and disadvantages, as was the case in the practice of pre-revolutionary Russia.

1. In the field of creativity of architects and temple builders

The temple architect must:

Understand the requirements of the Church, that is, express the sacred content of the temple through the means of architecture, know the functional basis of the temple, Orthodox worship in order to develop a planning organization in accordance with the specific purpose of the temple (parish, memorial, cathedral, etc.);

Have a conscious attitude towards the creation of a temple-shrine as a sacred act, close to church sacraments, like everything that is done within the Church. This understanding must correspond to the lifestyle and work of the architect-temple-maker, his involvement in the life of the Orthodox Church;

To have deep knowledge of the entirety of the traditions of universal Orthodoxy, the heritage of all the best that was created by our predecessors, whose spirit was close to the spirit of the Church, as a result of which the churches created met the requirements of the Church and were conductors of its spirit;

Possess the highest professionalism, combine traditional solutions with modern construction technologies in their creativity.

Mikhail KESLER

Moscow is famous not only for its historical architecture, or the architecture of Soviet times. And not even modern architecture. Moscow is famous for its temple architecture, which is simply magnificent in the capital of Russia. Temples, cathedrals, churches - all these places of pilgrimage for believers are in Moscow, and they all stand high in the diocese of the Moscow Orthodox Church. Moscow churches have always been considered the place closest to God, therefore, most examples of Moscow temple architecture are luxurious in appearance!

The most striking examples of temple architecture in Moscow

It was the temples and cathedrals of Moscow that survived all the misfortunes that the capital of Russia experienced, and once again proved the validity of the historical axiom - the safest place is the place in the temple.

Archangel Cathedral of the Moscow Kremlin- one of the most famous cathedrals in Russia. The history of the cathedral dates back to the reign of Mikhail Khorobit (mid-13th century). The modern cathedral was founded in 1508. For a long time, the cathedral served for holding funeral services on the dates of death of rulers. In 1913, the Archangel Cathedral was restored and its decorations were improved. The five-domed temple, whose walls were decorated with Renaissance elements, is considered one of the holiest places in the Moscow Orthodox Church.

Assumption Cathedral of the Moscow Kremlin– the temple, which was supposed to be built in 1975, was never completed, as a large earthquake destroyed the unfinished structure. The Assumption Cathedral was brought to life in 1479. The appearance of the cathedral is laconic and monolithic with five golden chapters and 12 pillars, into which the internal volume of the cathedral is divided.

Epiphany Monastery Moscow is the oldest monastery in the capital of Russia, built in the 14th century. The building of the Epiphany Monastery was rebuilt many times, and its original territory was reduced three times. Now the Epiphany Cathedral has been transferred to the Moscow Church, and services are held there.

Blagoveshchensky cathedral on Cathedral Square - a luxurious example of Moscow temple architecture. The cathedral is famous for its decoration - images of ancient Greek thinkers and sages, paintings and a huge iconostasis.

St. Basil's Cathedral- a cathedral that embodies the face of the Moscow Church. The cathedral is listed as a UNESCO World Heritage Site. Also, for many, St. Basil's Cathedral has become the main symbol of Moscow. The 65-meter temple is a huge complex, with several churches and luxurious external and internal decoration.

Temple of the Icon of the Mother of God- a luxurious example of modern temple architecture. The temple was built in 2001, and has become an important place for pilgrims of the Moscow diocese. The temple in Maryino became a new round of development of the Moscow church and the first example of temple architecture in the 21st century. A five-domed temple with a copper roof, with symmetrically located domes relative to the central dome, as well as two bell towers.

Church of the Resurrection in Sokolniki - an Orthodox church built in the Art Nouveau architectural style. The temple is made in the shape of a cross, and the altar part is oriented to the south, which is not typical for Orthodox churches. The temple has nine domes - eight are black, and the central dome is covered with gold.

Kazan Cathedral on Red Square- recreated temple in 1993. The temple was consecrated in honor of the icon of the Kazan Mother of God. The temple has a characteristic appearance for Russian temple architecture of the 17th century - a single-domed temple with a hill of kokoshniks.

Cathedral of Christ the Savior- a cathedral, impressive in its size, built in 1996. The temple was restored after demolition in 1931, which was carried out in accordance with the decision of the CPSU Central Committee. The temple is famous for its majestic appearance, interior decorations, and numerous shrines - the relics of St. Philaret, as well as numerous offerings of holy relics.

There are hundreds of churches in Moscow, each of which is a significant monument temple architecture worthy of attention.

By mastering new technologies, a person changes the space around him, at the same time modernizing the material attributes of religion - the buildings of churches and temples. Such changes also affect the Orthodox environment, where the question of “modernizing” the church tradition of building churches is increasingly being raised. Catholics, on the contrary, are trying to take control of this process - not so long ago the Vatican officially stated: “Modern Catholic churches resemble museums and are built more with the aim of receiving an award for design than to serve the Lord...”. The works of Western architects are indeed often awarded in various professional competitions and awards; some of them later become widely known and become architectural symbols of cities.

We present to you photographs of modern churches built with elements of modernism and the “style of the future” - high-tech.

Protestant Crystal Cathedral in Garden Grove, Orange County, California, USA. This is the most famous example of the high-tech style, which involves straight lines in design and glass with metal as the main material. The temple is built from 10,000 rectangular glass blocks held together with silicone glue, and its design, according to the architects, is as reliable as possible.

The church can accommodate up to 2,900 parishioners at a time. The organ located inside the Crystal Cathedral is truly wonderful. Operated from five keyboards, it is one of the largest organs in the world.

Much like the Crystal Cathedral, the Cathedral of Christ the Light is a Catholic church in Oakland, USA. The church is the cathedral of the Diocese of Oakland and the first Christian cathedral in the United States to be built in the 21st century. The temple has been widely discussed in the American press due to the significant construction costs, as well as the surrounding garden, which is dedicated to victims of sexual abuse by clergy.

Interior of the Church of Light from Light.

The Cathedral of Christ the King, more often called simply the Liverpool Metropolitan Cathedral, is the main Catholic church in Liverpool, Great Britain. The building is a striking example of architecture of the second half of the 20th century. Serves as the see of the Archbishop of Liverpool and also acts as a parish church.

The Church of the Holy Cross in Denmark impresses with the geometry of the building in a minimalist style and its location - almost in the middle of a field.

Built in the late 90s, the Catholic church in the city of Evry (France) is called the Cathedral of the Resurrection. Pay attention to the floral decor in the form of green bushes located on the roof of the building.

The Church of the Merciful God the Father in Rome is a major social center of the Italian capital. This futuristic building is specially located in one of the residential areas in order to architecturally “revive” it. Precast reinforced concrete was used as a building material.

Hallgrimskirja is a Lutheran church in Reykjavik, the capital of Iceland. This is the fourth tallest building in the entire country. The church was designed in 1937 by architect Goodjoun Samuelson, and it took 38 years to build. Although the building was created long before the expansion of high-tech into the world of architecture, in our opinion, the general appearance of the temple and its unusual shape make it a very interesting example of modernism. The church is located in the very center of Reykjavik, visible from any part of the city, and its upper part is also used as an observation deck. The temple became one of the capital's main attractions.

A modern cathedral is being built in the center of Strasbourg, France, which still only has a “working” name: Folder. Consisting of a series of pleated arches, the building would look extremely original as a venue for Catholic ceremonies, such as weddings.

The Ukrainian Greek Catholic Church of St. Joseph was built in Chicago (USA) in 1956. It is known throughout the world for its 13 golden domes, which symbolize Jesus himself and the 12 apostles.

13. Church of Santo Volto in Turin (Italy). The design of the new church complex is part of the program of transformations provided for in the 1995 Turin master plan.

St. Mary's Cathedral in San Francisco is a fairly avant-garde building, but local architects call it a "sensible conservative option."

The minimalist Church of Light was built in 1989 and designed by renowned Japanese architect Tadao Ando in a quiet residential area in the suburbs of Osaka, Japan. The interior space of the Church of Light is visually divided by rays of light coming from a cross-shaped hole in one of the walls of the building.

In downtown Los Angeles is the Cathedral of Our Lady of the Angels. The church serves a general archdiocese of more than 5 million Catholics. It is in this temple that the archbishop conducts the main liturgies.

Harissa Church in the capital of Lebanon - Beirut. It consists of 2 parts: a bronze statue of the Holy Virgin Mary weighing fifteen tons, located at an altitude of 650 meters above sea level, made in the Byzantine style. There is a small chapel inside the statue.

The building, unusual in shape, materials and general concept, is the relatively recently built Catholic Church of Santa Monica. The temple is located an hour's drive from Madrid (Spain).

To conclude our review, there is a completely unconventional Trinity Church in the traditional and conservative capital of Austria - Vienna. The Church of the Holy Trinity (German: Kirche Zur Heiligsten Dreifaltigkeit) in Vienna, better known as the Church of the Holy Trumpets, is located on Mount Sankt Georgenberg. Built in 1974, the Temple belongs to the Roman Catholic Church. Due to the complete inconsistency with traditional church forms, the construction of the building, of course, met significant resistance from local residents.

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The end of persecution in the 4th century and the adoption of Christianity in the Roman Empire as the state religion led to a new stage in the development of temple architecture. The external and then spiritual division of the Roman Empire into the Western - Roman and Eastern - Byzantine, also influenced the development of church art. In the Western Church, the basilica became the most widespread.

In the Eastern Church in the V-VIII centuries. The Byzantine style developed in the construction of churches and in all church art and worship. Here the foundations of the spiritual and external life of the Church, which has since been called Orthodox, were laid.

Types of Orthodox churches

Temples in the Orthodox Church were built by several types, but each temple symbolically corresponded to church doctrine.

1. Temples in the form cross were built as a sign that the Cross of Christ is the foundation of the Church, through the Cross humanity was delivered from the power of the devil, through the Cross the entrance to Paradise, lost by our ancestors, was opened.

2. Temples in the form circle(a circle that has neither beginning nor end, symbolizes eternity) speaks of the infinity of the existence of the Church, its indestructibility in the world according to the word of Christ

3. Temples in the form eight-pointed star symbolize the Star of Bethlehem, which led the Magi to the place where Christ was born. Thus, the Church of God testifies to its role as a guide to the life of the Future Age. The period of the earthly history of mankind was counted in seven large periods - centuries, and the eighth is eternity in the Kingdom of God, the life of the next century.

4. Temple in the form ship. Temples in the shape of a ship are the most ancient type of temples, figuratively expressing the idea that the Church, like a ship, saves believers from the disastrous waves of everyday sailing and leads them to the Kingdom of God.

5. Temples of mixed types : cross-shaped in appearance, but round inside, in the center of the cross, or rectangular in outer shape, and round inside, in the middle part.

Diagram of a temple in the shape of a circle

Diagram of the temple in the form of a ship

Cross type. Church of the Ascension outside the Serpukhov Gate. Moscow

Diagram of a temple built in the shape of a cross

Cross type. Church of Varvara on Varvarka. Moscow.

Cross shape. Church of St. Nicholas the Wonderworker

Rotunda. Smolensk Church of the Trinity-Sergius Lavra

Diagram of a temple in the shape of a circle

Rotunda. Church of Metropolitan Peter of the Vysoko-Petrovsky Monastery

Rotunda. Church of All Who Sorrow Joy on Ordynka. Moscow

Diagrams of a temple in the shape of an eight-pointed star

Ship type. Church of St. Dmitry on Spilled Blood in Uglich

Diagram of the temple in the form of a ship

Ship type. Church of the Life-Giving Trinity on Sparrow Hills. Moscow

Byzantine temple architecture

In the Eastern Church in the V-VIII centuries. has developed Byzantine style in the construction of temples and in all church art and worship. Here the foundations of the spiritual and external life of the Church, which has since been called Orthodox, were laid.

Temples in the Orthodox Church were built in different ways, but each temple symbolically corresponded to church doctrine. In all types of temples, the altar was certainly separated from the rest of the temple; temples continued to be two - and more often three-part. The dominant feature in Byzantine temple architecture remained a rectangular temple with a rounded projection of altar apses extended to the east, with a figured roof, with a vaulted ceiling inside, which was supported by a system of arches with columns, or pillars, with a high domed space, which resembles the internal view of the temple in the catacombs.

Only in the middle of the dome, where the source of natural light was located in the catacombs, did they begin to depict the True Light that came into the world - the Lord Jesus Christ. Of course, the similarity between Byzantine churches and catacomb churches is only the most general, since the above-ground churches of the Orthodox Church are distinguished by their incomparable splendor and greater external and internal detail.

Sometimes they have several spherical domes topped with crosses. An Orthodox church is certainly crowned with a cross on the dome or on all domes, if there are several of them, as a sign of victory and as evidence that the Church, like all creation, chosen for salvation, enters the Kingdom of God thanks to the Redemptive Feat of Christ the Savior. By the time of the Baptism of Rus', a type of cross-domed church was emerging in Byzantium, which unites in synthesis the achievements of all previous directions in the development of Orthodox architecture.

Byzantine temple

Plan of a Byzantine temple

Cathedral of St. Stamp in Venice

Byzantine temple

Cross-domed temple in Istanbul

Mausoleum of Galla Placidia in Italy

Plan of a Byzantine temple

Cathedral of St. Stamp in Venice

Temple of Hagia Sophia in Constantinople (Istanbul)

Interior of the Church of St. Sofia in Constantinople

Church of the Blessed Virgin Mary (Tithe). Kyiv

Cross-domed churches of Ancient Rus'

The architectural type of Christian church, formed in Byzantium and in the countries of the Christian East in the V-VIII centuries. It became dominant in the architecture of Byzantium from the 9th century and was adopted by Christian countries of the Orthodox confession as the main form of the temple. Such famous Russian churches as the Kiev St. Sophia Cathedral, St. Sophia of Novgorod, Vladimir Assumption Cathedral were deliberately built in the likeness of the Constantinople St. Sophia Cathedral.

Old Russian architecture is mainly represented by church buildings, among which cross-domed churches occupy a dominant position. Not all variants of this type became widespread in Rus', but buildings from different periods and different cities and principalities of Ancient Rus' form their own original interpretations of the cross-domed temple.

The architectural design of the cross-domed church lacks the easily visible visibility that was characteristic of basilicas. Such architecture contributed to the transformation of the consciousness of ancient Russian man, elevating him to an in-depth contemplation of the universe.

While preserving the general and basic architectural features of Byzantine churches, Russian churches have much that is original and unique. Several distinctive architectural styles have developed in Orthodox Russia. Among them, the style that stands out most is the one closest to Byzantine. This Toclassical type of white stone rectangular temple , or even basically square, but with the addition of an altar part with semicircular apses, with one or more domes on a figured roof. The spherical Byzantine shape of the dome covering was replaced by a helmet-shaped one.

In the middle part of small churches there are four pillars that support the roof and symbolize the four evangelists, the four cardinal directions. In the central part of the cathedral church there may be twelve or more pillars. At the same time, the pillars with the intersecting space between them form the signs of the Cross and help divide the temple into its symbolic parts.

The Holy Equal-to-the-Apostles Prince Vladimir and his successor, Prince Yaroslav the Wise, sought to organically include Rus' into the universal organism of Christianity. The churches they erected served this purpose, placing believers before the perfect Sophia image of the Church. Already the first Russian churches spiritually testify to the connection between earth and heaven in Christ, to the Theanthropic nature of the Church.

St. Sophia Cathedral in Novgorod

Demetrius Cathedral in Vladimir

Cross-domed Church of John the Baptist. Kerch. 10th century

St. Sophia Cathedral in Novgorod

Assumption Cathedral in Vladimir

Assumption Cathedral of the Moscow Kremlin

Church of the Transfiguration in Veliky Novgorod

Russian wooden architecture

In the 15th-17th centuries, a significantly different style of temple construction developed in Russia from the Byzantine one.

Elongated rectangular, but certainly with semicircular apses to the east, one-story and two-story churches with winter and summer churches appear, sometimes white stone, more often brick with covered porches and covered arched galleries - walkways around all walls, with gable, hipped and figured roofs, on which they flaunt one or several highly raised domes in the form of domes, or bulbs.

The walls of the temple are decorated with elegant decoration and windows with beautiful stone carvings or tiled frames. Next to the temple or together with the temple, a high tented bell tower with a cross at the top is erected above its porch.

Russian wooden architecture acquired a special style. The properties of wood as a building material determined the features of this style. It is difficult to create a smoothly shaped dome from rectangular boards and beams. Therefore, in wooden churches, instead of it there is a pointed tent. Moreover, the appearance of a tent began to be given to the church as a whole. This is how wooden temples appeared to the world in the form of a huge pointed wooden cone. Sometimes the roof of the temple was arranged in the form of many cone-shaped wooden domes with crosses rising upward (for example, the famous temple at the Kizhi churchyard).

Church of the Intercession (1764) O. Kizhi.

Assumption Cathedral in Kemi. 1711

Church of St. Nicholas. Moscow

Church of the Transfiguration (1714) Kizhi Island

Chapel in honor of the Three Saints. Kizhi Island.

Stone tented churches

The forms of wooden temples influenced stone (brick) construction.

They began to build intricate stone tented churches that resembled huge towers (pillars). The highest achievement of stone hipped architecture is rightfully considered the Intercession Cathedral in Moscow, better known as St. Basil's Cathedral, a complex, intricate, multi-decorated structure of the 16th century.

The basic plan of the cathedral is cruciform. The cross consists of four main churches located around the middle one, the fifth. The middle church is square, the four side ones are octagonal. The cathedral has nine temples in the form of cone-shaped pillars, together making up one huge colorful tent.

Tents in Russian architecture did not last long: in the middle of the 17th century. Church authorities prohibited the construction of tented churches, since they were sharply different from the traditional one-domed and five-domed rectangular (ship) churches.

Tent architecture of the 16th-17th centuries, which finds its origins in traditional Russian wooden architecture, is a unique direction of Russian architecture, which has no analogues in the art of other countries and peoples.