Frescoes of Dionysius at the Ferapont Monastery of History. Ferapontov monastery
Strelnikova E.R.
ZBIR RIZDVA OF THE MOTHER OF GOD
The Cathedral of the Rіzdva Bogoroditsі was called in 1490 at the same place, as if Saint Ferapont had been consecrated for the wooden church in 1408. Budіvnitstvo on Pіvnochi kam'yanikh khramіv was at that hour on the right, invisible. To visit the Kirilov monastery - more to the rich and rich - less than through this fate could call the stone Assumption Cathedral. In the past, everyday life began to blossom at Pivnochi near the Savior-Kamyan Monastery on the island of Kubenskoye Lake. Let's attack the Cathedral of the Rizdva Bogoroditsi of the Ferapont Monastery. Decor yogo and budіvelnі priyomi vkazuyut on those who were architects, better for everything, Rostov masters.
For its type, the temple is traditional for Moscow architecture: cross-dome, chotirist, cubic type, triapse. Under the sloping cover of the zakomari and the drum of the head, which was not saved, over the pribudova of St. Nicholas of Myra. Cathedral mav dzvіnitsyu, the leftovers of which have become part of the pіvnіchno porch. The facades and the drum are decorated with some ornaments.
"Signed" the temple of glorifications by the old Russian master Dionisiy iz sinami. His authorship is confirmed by the autograph of the icon painting on the pivnichniy wall of the church. There it is stated that the painting began on the 6th sickle, 7010 litas (1502 rіk), and completed on the 8th spring, to the temple saint. "And the copying of the Dionysian icon with his children."
Interior of the Cathedral of the Rizdva Bogoroditsa of the Ferapont Monastery. Photo on the cob of the 20th century
The frescoes cover the entire inner surface of the temple with a sacred area around 800 square meters, the stench was saved whole. Less than a few fragments were spent through the cutting of the vicon and the rosebud iconostasis. The murals of the cathedral were built by the Ferapontov monastery all-worldly. This is the only reminder in the country, in such frescoes the ear of the 16th century was taken in the author's vikonann in full obsya. Renovations, creations in the middle of the 18th century, stumbled heavily on the painting of the first security.
Dionysius wrote at the zmіshanіy tehnіtsі - frescoes (on wet ground) and tempera. For the preparation of farb wines, as a retelling, often vikoristovuvav different colors of minerals, which are located on the outskirts of the Ferapontov monastery near the sight of roses.
The main scheme of painting is traditional: at the dome of the images, the Lord Almighty with the archangels and forefathers, at the windows - evangelism, at the crypts - evangelical stories, on the back wall - the Last Judgment, on the stovp - warrior-martyrs and saints, below the ornamental shrouds - sim vіvtarі - the Bogomatіr with God-of-God on the throne, at the altar - the Forerunner and the Baptist of the Lord John, at the deacon (the wine is the same side vіvtar) - Mykola the Wonderworker.
Saint Nicholas the Wonderworker. Conch of the pivdennogo lateral vіvtar to the Cathedral of the Rіzdva Bogoroditsi of the Ferapontov Monastery.
GREAT AKathist
A special place in the middle of the paintings of the Ferapontov Monastery is occupied by the "Akathist of the Mother of God" - a painting interpretation of the laudatory spivu, which is composed of 25 songs. Dionysius knew his own interpretation of all the sleeps. Meister roztashuvav stage akathist third tier of paintings around the entire perimeter of the cathedral. Dionysius having created one of the most profound insights of the akathist in painting.
The cycle is based on similar stanzas of the chotirm with the scenes of the Annunciation, which are transmitted by the first chotiri to the songs of the Akathist. Then we will move on to the scenes between the western steps, leading to the center of the temple (“Kissing Mary and Elizabeth”, “Josip’s Wishes”, “Adoration of the Pastirs”, “Come on the Road of the Magi”). Prodovzhennya by those of the New Year of Christ to move to the pivdenno-zahіdnі crypt (“The Turning of the Magi”, “Vtecha to Egypt”), from 16 pisnі (kontakion 9th “Every kind of angels call…”) on the pіvdenny wall, scenes on the back faces of the tables (starting from 7 kondakiv - "Strіtennya"). Vikoristannya on top of the stovpіv, and not only pivdennoy and pivnіchnoy walls for the scenes of the Akathist, there are no analogies in the paintings of Russian churches, and no churches in Russia. Such roztashuvannya is even more important in composition: the artist has filled the entire temple with scenes of speeches. The stench "sounds" on the walls, and in the center of the temple on the stovpah, and on the vaults at the pivnіchnyh and pivdennyh huts of the cathedral.
Akathist to the Theotokos, ikos 3. "Kissing of Elisabeth" (Zustrich of Mary and Elisabeth)
The hymns of the Akathist at Dionysius, behind the opposing parts, are subdivided into two halves - connected with the Evangelical history (first 12th pisen) and vengeance and glory (coming 12th).
An akathist cycle of inscriptions with the main murals of the temple, dedicated to the glorification of the Mother of God, її Praise, where such compositions are included, like the Intercession, the Cathedral of the Virgin (“Who You are brought”) and “For You, we are glad, blessed, every creature.” Stop, like the Akathist, written in song.
FRESSA OF DIONISSIUS IN THE CAMP OF THE TRANSFERABLE MARTINIAN
In 1502, I painted all the inner surfaces of the Church of the Rim of the Mother of God of Dionysius, and in addition, in 1502, I often decorated with frescoes the two outer walls of the cathedral - the entrance and the pivdenna. Portal painting of the back wall of consecrations to the temple saint of the Mother of God Rizdva. Little has been written about her. Less respect was given by the survivors of the famous frescoes on the pivden wall of the funeral of one of the founders of the Ferapontov Monastery, St. Martinian. At the XVII century. the fresco has worn down to the interior of the church-tomb, arrived at the cathedral, and is found near the niche of the pivnіchnoi wall.
The burial place of the miracle worker Martinian appeared as this logical center, long ago the stone life of the monastery was formed. Martinian rested at 1483 p. on the 76th roci of the people, yogo was commemorated by the white wall of the same wooden church of the Rizdva of the Mother of God, built by the reverend himself in 1465. At 1490 p. yogo scholar and solitary archbishop of the Church, having awakened the first stone cathedral, without worrying about it. The fact that the consecration was revealed not under the cathedral, but the name, to witness, that the remembrance of St. Martiniana was already significant, and it was reminiscent of the shrine of the tomb, for example, the tomb of St. Cyril of Bilozersky. There are no exact records of what kind of bula was the first tomb, maybe, wooden. I. I. Letting the diamonds go, after the building of the cathedral, a chapel was erected. The appearance is confirmed by the construction of a wooden reliquary, built earlier than the construction of the Martinian Church in 1640-1641. Cancer is dated approximately 1570 p. One panel was saved from it, it laid down the hidden side of the old gilded wooden carved crayfish of 1646, as it became a part of the stone church improvement.
Gilded wood carved on the shrine of St. Martinian. Fresco of Dionysius over the graves. Photo from 1980s.
It can be assumed that the first tomb on the site of the main church was built up to the canonization of the abbot. In support of this, they can be described in the life of the healing of the tomb of Martinian, de prayers were served before the cathedrals of 1549-1551, in truth, not to the abbot, but to the Mother of God. In Life, folded in the middle of the XVI century. Matthew, a resident of the Ferapontov monastery, was guessing like a tomb, and a cancer (in the description of the 10th miracle of the healing of the young man Stefan from leprosy). The miracle happened at that hour, when Abbot Guriy was known in Moscow with a list of nine miracles and recognized about ten miracles after returning to the monastery. Archbishop Joasaph of Rostov, the budvelnik of the Cathedral of the Rizdva of the Theotokos, himself improved the tomb of his illustrious teacher. Tsіkava in tsimu sensі thought, vislovlen to the author by the artist N.V. Gusєvim, who copied the frescoes to the cathedral for 35 years, about those that the fresco over the burial place of the Monk Martinian was created for the interior, the shards were painted with dark farbs, on the vіdmіnu vіd zvnіshnyoї portalї.
At the cathedral with the painting of the cathedral, the painting can be even more spent. Regardless of the trashy safety of the composition, you can call it "The Mother of God of Pechersk with the future archangels Michael and Gabriel, St. The mustache is fastened to the central image of the Mother of God, which has been used up. At the shortest saving position of the archangels and St. Nicholas, who stands behind the archangel Gabriel. The figures of the fit Ferapont and Martiniana are half worn out.
The width of the frescoes is exactly the same as the dozhina cancer (231 cm), so that the saint's work will be expanded. At the XVII century. during the life of the church-tomb, the fresco was like a peace, oskolki її leviy upper edge appeared to be rising beyond the edge of the niche, and behind the right part of the composition a wide field was left. The fresco was not covered for a long time, the monastic inventories of 1763 and 1747. її guess. In the nineteenth century Significant situations began at the link with the pribudovoy in 1836-1838. meals from the back side. The same was written in murals of the quadruple and the meal. Under the hour of tsikh robit, the tomb fresco of Dionysius suffered greatly: a part of the composition (pilaster to the cathedral) that stood out was cut off, and a new painting was crushed on top of the ground. An ancient fresco appeared, nailed with a ball of cement and a note, the next behind it, that depicted "Martinian's Wickedness".
In 1928 fresco of Dionisiya rozkriv vіd zabrudnennya that cement restorer P.І. Yukin. The composition appeared to be strongly sloppy: the crimson wasted in the central parts, on the faces of the saints, the deacons of the other upper balls of the painting were erased. Evidence that the central figure was Bogomatir z Nemovlyam was found in the archives by M.G. Malkinim in the description of the ear of the 18th century: “Above the cancer is the image of the Most Pure Mother of God of the Caves, on the sides depict the archangels Mikhail and Gabriel, St. The last researcher V.D. Sarab'yanov knows the riddle about the fresco in the descriptions of 1747, 1751, 1763 and 1767. and did not use yoga in the upcoming descriptions of the 18th century, having admitted that the fresco at that hour was already whitewashed.
The author of the first book about the frescoes of the Ferapontov Monastery, V.T. For Georgievsky, the composition was left unattended, the shards were broken by P.I. Yukinim is significantly better for the publication of Georgievsky. N.M. Chernishov, who dated the painting of the cathedral at the same time. Mystical literature had various ideas about the nature of the composition and the stages of mastery of the author. For example, G.V. Popov vvazhav that the fresco was written without the participation of Dionisy, and M.G. Malkin went to the hands of the "non-stop master" yoga artillery.
Slіduychi Іstorichnikh Logіku, you can work in the Nisі Church of the Church of the Monkey Martinіan himself, which was visible to Dіonіsіm by virtue of the vone of the Vona stuck the hinders of the Shanmicheannoye Іgumen, the "lawyer" of the Slavs of Massword. We guess that the relics of the miracle worker Ferapont are located in the Luzhetsky Mozhasky monastery, de vin rested in 1426, and the Bilozersk yogo monastery began to be called the Martinian monastery.
If you look at the composition in the tomb-church, not at the sight of the murals, then decorate the place, de rest the relics of one of the founders of the monastery, she continued (completed sooner) the grandiose idea of painting the Cathedral of the Mother of God. Like a portal fresco, at once it was beaten like a fresco to the cathedral, the murals of the tomb became a flashing line of the single artistic inspiration of the idea of representation. While on the portal of the cathedral, the main one was seen near the upper register with a painting of the Savior’s presence, then on the pivdenniy wall of the temple, the Virgin Mary was seen ahead of it. Moreover, the asymmetry of the number of figures of the Deisus in the portal fresco was added to the asymmetry of the future Mother of God on the pivdenniy wall. Vyhodyachi zgogo, it’s not possible to change the admission, that the fourth figure of the lion-hander at Deisus is St. Nicholas, more than the unconventional for the new side ¾ of the Odessa of the Savior. Following the logic of the unity of the ancient frescoes, we can admit that, by placing the image of Archbishop Mykoli on the frescoes in the tomb, Dionysius on the portal, having placed not yoga, but the paired yoga of the saint. So, in the iconostasis of the cathedral, the icon of St. Nicholas was given an icon of the Apostle and Evangelist John the Theologian.
The recognition of the fourth saint on the portal was aggravated by the fact that it suffered greatly in the form of alterations, like a fresco in the tomb. At the XVIII century. the cover of the porch was omitted, and її the blood was cut into the murals of the upper register portal. Before the restoration of the robots, the figure was not visible outside, it was overgrown behind the hanging bed. About those, what a saint of images at the Deisus portal, various pardons were hung. Monastirsky description of 1747. create this composition: “At the porch above the church entrance doors, there is an image of the Savior of the Almighty. On the sides of the Savior image, it is written with a wall sheet of images of the Most Holy Theotokos, John the Baptist, archangels Michael and Gabriel, and images of the apostles, that image of the Rizdva of the Virgin ”[seen by us ¾ E.S.] The third pair of Dionysius, like in Dessa the apostles Peter and Paul , the fourth unpaired figure, the right-hander of the Savior nayіmovіrnіshe є Apostle John the Theologian ¾ the same holy budіvnik to the Cathedral of Archbishop Joasaph of Rostov (at the retinue of Prince John Obolensky).
Turning to the fresco in the burial vault, one should note that the image of Mykoli the Wonderworker on the pivdenniy wall is not vipadkov, to that the wall is the bedroom with Mikilsky side vіvtar (speciality, marked by the bagatma by the elders). Slid podkresliti i "zvorotnyy" vyaz'azok bozheville z church of St. Martinian. On the pivdenniy wall between the composition “Transfer of the relics of Mykoli the Wonderworker”, depicting the great shrine of St. Nicholas. Under the name of the fresco, so in the interior of the church-tomb there is a cancer of St. Martiniana. The interplay of the compositions is supported by the architectural detail from the cathedral to the church, which, as it seems, is a little and symbolic reading. The vertical line of the vіd vіkna, є є with a happy lanka of the cathedral of that church, falls on the edge of the composition from the side of the figure of St. Nicholas.
As in the battles, all compositions reveal the “earthly” divinity of Mikoli the Wonderworker, then the outer fresco depicts his “heavenly” intercession. Here one speaks of the approach of Archbishop Mikoli to Abbot Martinian. Mykola Myrlikysky - the great vlashtovuvach and pastor, and sings loudly to the deeds of the Monk Martinian - the wake-keeper of the Ferapont monastery and the shanovannyy shepherd. St. Martinian was the spiritual mentor of such spirits, as Reverend Cassian the Greek, Blessed Galaktion of Belozersk, Bishop Philotheus of Perm, and Archbishop of Rostov Joasaph, the guardian of the Cathedral of the Nativity of the Mother of God and the replacement for the frescoes of Dionisia.
The frescoes of Dionysius in Mikilskomu bots barvisto depict the intercession of St. Nicholas for unjustly condemned (compositions "The order of three people in the strata", "Appearance of three governors at the pit", "Appearance of St. Nicholas to Tsar Kostyantin" and St. Nicholas' Appearance.) Apply the same analogy in the Life of St. Martinian. Dosit to guess yoga fearlessness during the boyar's defense against the fall of the Grand Duke Vasil II the Dark. The Grand Duke, having converted the monk to his spiritual father, calling on him to be the abbess at the Trinity-Sergius Monastery, turned in the stars to the Ferapontov Monastery. Yakos Vasil II wanted to turn the boyar, like a duck to the prince of Tver, and sent to the new reverend Martinian. Having enlisted obіtsyanki, boyar turned, ale bov gatherings and rooms at the yard. Having found out about it, Igumen Martinian once mounted on horseback galloping to Moscow, appearing before the sovereign and shouting with anger, taking his blessing on the new and on the new princedom. The prince remembered well what the cost of the blessing of yoga turned out to be by the great supernik Dimitry Shemyaka and “being afraid of God”. Vіn having taken the disgrace of the boyar and virushing to the Trinity Monastery with repentance. Igumen Martinian with honors zustrіv and blessing his spiritual son, and he himself asked for forgiveness from the new one for humility, showing an example of gentleness and humility.
The composition "The Remembrance of St. Nicholas" is located on the pivdenniy vvtar stovpі cathedral opposite the "Transfer of the relics of Mykola Mirlikiysky". Vaughn is united in the murals of the temple with the images of the dormition, which indicate the connection of both compositions from the tomb behind the wall. We do not see the “unearthly” life of Mikoli in the cathedral, but behind him, in the other world, at the heavenly side. In this manner, the cycle of frescoes of Mikilsky vvtar is completed in the church of St. Martiniana with the intercession of Mikoli the Wonderworker before the Mother of God.
The thought about the interrelationship of the famous frescoes of the cathedral is supported not only by the future, but by the abbreviated posts of the venerable Martinian and Therapont on the pіvdenіy wall vіdpovidno venerable Іoanna Damaskin and Kosmi Mayumsky in the tympanum of the door arch.
In both contemporary paintings of the cathedral, the posts of the archangels Michael and Gabriel are mentioned. At the Martinian Church, the image of the Archangel Michael has additional significance. The Most Holy Saint of the Monk Martinian is in the schema. The reverend himself painted the image of Archangel Michael, over his head he wrote an erased one, which can be read like "MARTINIAN". The image buried on the mural was natural and traditional, as if the tomb was immured in the underside or the wall of the temple. Yakby is not a furnishing, then in the left part of the composition, the first person of the monastery of St. Ferapont is depicted (the other image is opposite). The founders of the monastery are depicted without nimbuses (the head was not preserved in the right position), the canonization of the venerable Ferapont and Martinian appeared between 1547 and 1549, then it may be 50 years after the painting of the cathedral. Ale Dionysius, in front of his hour, fill us with their images.
ICON PAINTER OF DIONISSIUS
It’s better, perhaps, to write about those marvelous marvels that were preserved at the Ferapont Monastery until the 21st century - about the frescoes of Dionysius. There is little information on this topic, but about the icon-painter himself, it is not very rich. Shown in stay rocky monastic synodics (commemoration books) from the records of the Dionysius family do not give sufficient evidence for judging about this trip. Become invisible, if I was born, if I died, and if I was buried.
For the guidance of contemporary artists of Dionysius, already in the 1470s, the famous Russian icon painters became famous. Yogo robots were much more expensive. Thus, Vladika Vassian (Toporkov) of Kolomna gave three icons of Dionysius to the Yosif-Volokolamsky Monastery for his own remembrance, and at the deposit book of the monastery it was inscribed, as a reminder, “the docks of the monastery of the Most Pure stand”.
The first riddle about one of the early works of Dionysius is to be solved in the lithographic slab, composed in Moscow for the Grand Duke John III. In the new year of 1477, "The Tale of Pafnutiy Borovski" was placed by fate, debriefing about the motives of the venerable temple and about the "wonderful" yogo painting. Proténames of the masters were omitted by the grand duke chronicler. Archbishop Vassian (Sanin) of Rostov was credited to the authorship of the elder Mitrofan and Dionysius in the life of St. Having changed the icon painters, giving them a high rating, calling them “glorious [acclaimed] ones more than all those of such a right”.
Frescoes of the Ferapont MonasteryIn one of the distant districts of the Vologda region, near the town of Kirillov, there is an ancient monastery founded in the 14th century by the Moscow cleric Ferapont. More than 600 years ago, the wines from the small rubany cells. A year before the monastery, more lands began to come in. Before the monastic execution, pennies flowed, on which new lands were bathed, and that villages were bathed, and the masters were also requested to build stone forte walls, temples and other budivels. There was a lot of books: The Ferapontov Monastery had created a great library, rewriting books for the sake of a book, the stars were spreading all over Russia.
At the very beginning of the 16th century, an art of painters appeared near the walls of the Ferapontov Monastery, as if they painted the Church of the Nativity of the Mother of God. Chotirista with too many rocky stone walls patiently took farbi frescoes, wrote that memory about maistrovs, how they created them. One of them is Dionysius, whose name was read on the cob of the 20th century. Behind its geographic expansion, the cathedral became a collegiate church. For an hour, if from the fall of Constantinople a new trade route was established at the Russian state, the Cathedral of the Rizdva Bogoroditsi at the Ferapont monastery was once again leaning on the great path that passed through the Beale Sea Onega and Sheksne. Vіn buv the first stone cathedral on tsomu way that buv ts_lkom adjunct for fresco painting. Kargopol, which was on the same Onesia, was more like a heaped place, and there were no stone churches near the Solovetsky Monastery yet. I will put all the work on them for the work of artil maistriv and pidmaistriv (teslyariv, plasterers, levkaschikiv and so on.) Vikonal for two small rocks.
Cathedral of the Rizdva Bogoroditsi
The iconography of the frescoes of the Ferapontov Cathedral is rich, which is why there is no precedent in the wall painting of Russian churches. No sooner, for example, did the image of John the Baptist appear at the altar; Deyakі doslidniki (zokrema, G. Chugunov) vvazhayut that the Akathist of the Mother of God in the past also appeared at Ferapontov. At the Greek and Pivdennoslovyansk churches, the whole life of Mary began to sound, beginning with the “Rizdva of the Mother of God” and ending with the “Assumption”. The Akathist of the Mother of God, even being included in the list, then having borrowed an insignificant place here from the brothers of the temples. Dionysius, however, creates a painting that glorifies Mary, a painting that is similar to psnespiviv, like it was laid on її honor. Obviously, Dionysius did not arbitrarily bring in a lot of plots near the fresco, which had never been depicted before. Sob to drink on such a merciful rock, vin mav bachiti in front of the painting, and not only a little about them, but bachiti їх moments only on Athos. Ale, the rich version of the gospel plots in Dionysius is also revisited in the views of Athos. Even so, there were no suvorih canons, and Dionysius moment was quickened by the furnishing. For example, independently trying to comprehend the deeds of the position of Christianity, the creed about the life of the Mother of God. Those that for the previous artists were the main method, for Dionysius became a different one. The smut task for the new one is the akathist to the Mother of God, glorified, to that the whole great cycle of paintings of the Rizdvyany Church is in a single hymn: "Rejoice!".
The frescoes, created by Dionysius, follow as an invisible part of the architecture of the Rizdvyany Cathedral itself. The entire inner space - from the dome to the foundation - is filled with soothing painting. Dionysius is willing to see the ravages of life, you can drink in the stringy visor of expensive brocade, the scarlet farbs of overseas shovki, the syava of self-flowering stones.
“Shlyub at Kanya Galileisky”, for example, seems to you to be a happy banquet. Build those vegeta that frame the numerical scenes of the painting, guess the architectural sightings of Moscow and Volodymyr. Rhythmic pobudova scenes, ruh articles to talk about the caution and genius mastery of the artist, and the life of Dionysius's hostility to be translated into the realm of beauty and poetic poetry. Inspire the most important characters - servants, who remind the judges of wine, or blind women, who gorge on greedy mercies - on the frescoes they swell especially gentry and goodness.
Shlub near Cana of Galilee
At the center of the cathedral, at the dome, images of Christ the Almighty.
At the thought of the rich doslednikiv, whose image is conjured up by "Pantocrator" from the Sophia Cathedral in Novgorod, the prote zv'yazok tsey vodchuvaetsya all day long - at the hands of that gospel. The essence of Ferapont's Christ the Almighty is even more pronounced in Novgorod. Ferapont's Christ the Almighty has no evil and unforgiving will, like the Novgorod Pantocrator.
On the pivnіchny botsі cathedral, the Mother of God sits on the throne, honed by the archangels, and on the bottom of the throne is embossed the yurbi of mortals, who christened the "Queen of Light". On the pivdenniy side - a host of spivakiv glorify Mary, as if at the neck she wore a captive robe.
On the western side of the zamіst zvichnіshy for Pivdenoslovyansk temples "Assumption" is depicted the composition of the "Last Judgment", in which Mary is glorified as the intercessor of the entire human race. At the similar lunette of the temple, the Mother of God is depicted in the image of the Russian, national soul as a patron and protector of the Russian state. Won to stand with the "veil" in the hands and the natomist walls of the ancient Volodymyr, which is the symbol of the religious and political unity of Russia. It’s not the souls of Mary who are no longer holy, but the Russian people.
Protection of the Mother of God
The cathedral of letters of Dionisii and yogo comrades is not only in the middle, but it is called. On the western facade, a fresco was well preserved, as if it sounded the one who entered the temple and gave direct advice to his thoughts and feelings. (After that, in this part of the cathedral, a porch was built, and the painting appeared in the middle of the temple).
The painting of the consecrations of the Birth of the Mother of God and is composed of three belts: the upper one is the deisus, the middle one is the scenes “The Birth of the Mother of God” and “The Blessing of Mary by Joachim and Anna”, the lower one is the archangels. Right-handed in the portal of images of Gavrilo, which is held in the hands of a suvi, on which is written “The Angel of the Lord writes the names to enter the temple.”
The portal fresco is a kind of prelude to the painting of the cathedral, because the akathist of the Mother of God starts here. Before Dionisiya іnshі, artists interpreted the plot of the “Rizdva Bogoroditsi” as if it were a family scene in the house of Joachim and Hanni, the father of Mary. Dionysius tezh having filled in the genre details, dictated by the master of painting himself, and at the same time the frescoes are sharply seen by his followers. At the middle tier of the paintings of Dionysius, do not scene the life of Mary, but illustrate up to twenty songs of the akathist of the Mother of God. Here the mitets are the least of the bindings with the canons, and the z-pіd of the yogo brush turned out the images as a whole self-sufficient. Vіn without showing the turbulence of the soul of the people, the artist is drawn to thoughts, to the original clouding of traditional evangelical themes.
Caress and Mary
Axis, for example, Hannah and old Joachim, who was recognizing that his squad was checking for silence. Sound this scene, and the masters portrayed the same dramatic explanations Joakim straight to the squad, and Hanna gave you no less than a different gesture. Dionisiya can’t find anything similar. Yogo Joakim already knows about the “immaculate” conception, he bows reverently before the newly-born Mary, stretching out her hand and repeating the gesture, which is typical for “standing up”. Anna on the fresco of Dionysia does not try to get up, does not reach out to her. The grace of that humble grace is overwhelmed, she sits on the bed, and the woman who stands behind the bed does not help Hannah to rise, but she does not dare to turn around the crooked tієї, that the mother of Christ gave birth to the future. A right-handed woman from the bed does not just stretch Hannah's cup with her, but brings it to her. The І tsya gold bowl, possessing a special meaning, becomes the center of all compositions. Dionysius shows the spying people that in front of him is not the usual mundane mush, that he is accompanying the people of the child, but the performance of the sacred rites.
Holy Mother of God
Depict all the characters from the life of Mary vikonan Dionysius of supra-echo spiritual delicacy. The movements are smooth, the gestures are only pointed, but not completed, the participants in the rich scenes are less likely to signify a toss, but they are not stuck alone. For example, the scene “Bathing of Mary” is worthy. The compositional center of the part of the fresco is the gold cup. The women, who bathe the new people, do not dare to stumble, and the one who brought Hanna a gift, trims it like a vessel with arable land.
Mary's Bath
The followers pointed out that the soft rounded contours of one form are repeated in the next, all the figures are written easily and majestic, no stench is spared the vag and spread over the ground. The frescoes of the cathedral are characterized by lowness, mutedness and illumination of farb, softness of color transitions, they have daily contrasts and sharp setting. Fakhіvtsі (although not all) are aware that when painting the Cathedral of the Rizdva Mother of God of Dionysius, we “replaced” the red tone of erysipelas or pale raspberry, greens - light green, yellow - straw'yano-zhovtim, blue - turquoise, so yogo farbi mayzhe have spent chivalry and masculinity, the power of the creators of the early period.
At the vault of the pivdenno-zakhidny stovp of the Rizdvyany Cathedral there is a composition depicting Jesus Christ and the Moscow metropolitans Peter and Oleksiy. Beneath them, white with water, stand an old gray woman, a woman of a frail age, and two youths. Meister of Oldies S.S. Churakov hung up the hypothesis that the water of the reservoir symbolizes "God's bounty", and those who take it away, become one family - a man, a squad of that blue. Possibly, Dionysius here and having depicted himself and his family, even at Ferapontov, two yoga blues were worked out of him at the same time - Volodymyr and Theodosius.
S. S. Churakov real people introduction of Dionysius and into another composition. So, at the stage of the Last Judgment among the Fryazin (inozemtsiv), the artist depicted the Italian architect Aristotle Fioravant, who built the Assumption Cathedral near the Kremlin. Indeed, this portrait is more striking: the head of the depicted troch is thrown back, a great forehead, nis with a characteristic hump, brown eyes, a lower leg, a fox skull ... Before the gazer, the person is middle-aged, independent, trained in knowledge and knowledge, who does not hesitate to in front of the rulers. As long as the hypothesis is still present, it is possible to give further evidence of future research.
Text by Nadiya Ionina
Photo: Rizdvyany Cathedral of the Ferapont Monastery
Photo and description
Cathedral of the Holy Mother of God, awakened in 1490, with the first stone spores of the Ferapont Monastery, which represents a first-class sign of its own Rostov architecture, which took the signs of early Moscow spores with stone.
The temple is of cubic type - chotirist, cross-dome, triapse. Three tiers of kokoshniks and a small chiselled drum are crowned with a volume of three, installed on a high pedestal. On the facades, the ornament is embellished with belts, balusters and ceramic plates. The drum of the central section was generously trimmed, as well as kokoshniks and pivkrugi aspid vіvtarya. The modern design presents all kinds of decor - kahelni belts, balusters, figured niches. So at the cathedral there was a pivdenniy lateral vіvtar, a small cupola hung over it. Bulo arrived a small bunker from the pivnіchnogo side.
In the middle of the cathedral, the divisions of the chotirm were made by square pillars into three naves with raised arches under the drum. Painting to cover 300 compositions and occupy the entire surface of the walls, stouppiv, crypts, doors and soffitiv windows. The ringing of the cathedral of paintings at the center of the wall, ruffled from the sunset, as well as at the lower part of the pivdenny above the burial place of St. Martinian.
The mural painting of the Nativity Cathedral is the single painting of the greatest Russian umiltsy Dionysius the Wise, which has been preserved until our time in the right looking warehouse. The painting of the cathedral at once from Dionysii was beaten and yogo blue, the stink was spent for thirty days. The area for painting the walls of the cathedral is 600 sq. M'yaki kolori painting, harmony farb and numerical plots to quiet the eye. So the Penzle of Dionysius lay and ancient icons from the temple. The frescoes were drawn downwards, in rows, which can be judged from the overlaps of the plaster balls. The compositions of the skin tier are more important than the shared theme.
"Akathist to the Mother of God" - a liturgical feast of laudatory speech, which is composed of 25 days, occupying a special place in the middle of the painting of the monastery. Dionysius has all the sleeps. The stage of the akathist was painted by the artist in the third tier of paintings around the entire perimeter of the temple. Dionysius, having created one of the most advanced specializations of the akathist in painting.
Proportions and proportions of the compositions of Dionysius, organically combined with the interior of the cathedral and the surfaces of the walls. The lightness and thinness of the little one, the trochs of the lowered silhouettes, like the lightness of the shapes of the figures, as well as the vishukans of the farbi, which rose in an unearthly light, and the richness of the tones of the colors, evoke the uniqueness of the painting of Dionisiya. Behind orders for the preparation of farb wines, chastkovo, zastosovuvav different-colored minerals, yakі vyglyadі rossipіv were found in the districts of the Ferapontov monastery.
Since the German fascists destroyed the rich Novgorod churches of the XII-XV centuries, the paintings of Dionysius are covered with one of the innumerable fresco ancient Russian ensembles that were saved. Among the monuments in Old Russia, frescoes are seen and absolutely safe for the author's painting. The murals of the cathedral, as it was done in the course of scientifically advanced robots, can finish the mucian soil with barvy balls, which they saved well.
Since 1981, scientific research works have been carried out at the Rizdvyany Cathedral using special methods, as in the past they were developed for the painting of Dionysius, watching the regime of temperature and moisture, camping gesso and farby balls. Conservation of frescoes, with the method of prevention, and improvement of the temperature and water regime allowed laying the scientific basis for saving the painting of Dionysius the Wise as a national wealth - a monument not only to Russian, but to European culture.
Cathedral of the Mother of God of the Ferapont Monastery
Destruction near the foxes near White Lake Ferapontov Monastery was founded in 1398 by the monk of the Moscow Simonov Monastery Ferapont. In the world of vidomy under the name of Fedir vin was born at Volokolamsk in the family of noblemen Poskochinyh. From a young age, mryuchi about the blackness of life, secretly pishov from home and having taken tonsure at the Simonov monastery.
Cathedral of the Rizdva Bogoroditsi
The abbot often gave you an assignment. Yakos Vіn sent Ferapont to the far Bіlozersk side. Suvory and thoughtful Pivnich captivated the young chents. The sting of the pustel's assimilation in the silence of the pine forests suffocated yoga. Turning to the Simonov Monastery, he shared his thoughts with Chance Kiril - the future Kiril Bilozersky. “Which is on the White Lake, where can you move money?”- sleeping Kirilo. "There's a lot of them", - Vidpoviv Ferapont. The foal was thrown: Kirilo and Ferapont ventured to drink in the wilderness.
Vibrating the field on the birch of Lake Siversky, the stench set up a cross here and dug up their own dugouts. Having lived for a full hour with Cyril, Ferapont, violating the whispers of assimilation, settled on the birches of Lake Borodavskoe, in the place of "space and smoothness." Nezabara іnshi chentsі began to come here, yakі bazhali razdіlit yogo pustelno living. In 1409 Ferapont created a wooden church in the name of the Rizdva Mother of God. So Vinik Ferapontov monastery.
V_domy church writer Pakhomiy Logofet, who saw Ferapontov in 1461, writing that the monastery "Greatly red, richly rich brothers of the pratsyuyuchih". Drawstring with an eagle XV cent. the monastery was a great spiritual center. From the yogo walls, a whole galaxy of educators and scribes emerged.
The self-sufficiency and remoteness of the monastery smashed the yogo misperebuvannyam zaslantsiv from a high spiritual rank. The first archbishop of Rostov Joasaph (Obolensky). In 1488, the post-welding with Ivan III was sent to Ferapontov. Joasaph lived at the monastery for about twenty-five years, spending the rest of the years in silence.
A few hours later, after the appearance of Archbishop Joasaph of Ferapont in the monastery, the fire became strong, until the hour that the holy fool on behalf of Galaktion vryatuvav archbishop's treasury. On the cі miraculously vtsіlіlі koshti in 1490 buv promptings the Cathedral of the Rіzdva of the Mother of God. Vin became another stone spore of Biloozero (following the cathedral of Kirilo-Bilozersky monastery).
The cathedral church of the Holy Mother of God of the Ferapontov Monastery is traditional for Russian monasteries of a strictly one-headed spore, and the traditions of the Novgorod-Pskov school of stone architecture of the XV century are followed. The cathedral is rather sparingly decorated. Above the temple on a wide drum rises a massive bell-like dome with a small dome at the end. The cathedral is a stone gallery, to which, from the front side, there is a square single-tiered link, a crit with a low roof.
Twelve years after the life of the cathedral, in 1502, at Ferapontov, the painter Dionysius from Sinami came to paint the cathedral. “At summer 7010-i (1502) month of sickle about 6 on the Transfiguration of our Lord Jesus Christ, the church was signed, and ended on the 2nd summer of month 9 spring ... And the clerks - Dionysius-ikonnik with his children. Oh, Vladiko Christ, all the king, grant them, Lord, eternal torment, ”says an old-fashioned inscription on the pivnichny wall of the Cathedral of the Rise of the Mother of God.
The Cathedral of the Ferapontov Monastery with the frescoes of Dionysius has long been elevated to the treasury of the treasury and the light art. The frescoes of Dionysius are consecrated to the whole world of numerical sciences, photo albums, records about them can be known in any known, consecrated ancient Russian painting.
Cathedral of the Rizdva Bogoroditsi. Frescoes on the front facade
"At the mystic Dionysia,- writing to M.V. Alpatov, - rich in spirituality, moral nobility, subtle sensibility, and it does not evoke yoga with the best traditions of Rublov. Dionysius, like Andriy Rublov, having started to create icons, as if they did not vibrate the light. Ale pri tsiomu "The new one has an element of urochistnosti and pisnosti, a kind of nevedomy and a distant view of Rublyov and yogo fellows".
It’s not surprising that Dionysius worked hard at the Moscow Kremlin and adopted that spirit of representation and writing, which he established himself in Moscow, if the Grand Duke became the “sovereign of all Russia”.
The date of the people's birth of Dionisiya is celebrated on 1440 rec. Prodovzhuvach right Andriya Rublova, a brilliant artist, who was called “an artist on the cob”, “more glorious for all”, richly practiced near Moscow and near Moscow monasteries. In 1467–1476, he painted frescoes and icons in the Pafnutiev Borovsky Monastery, in 1481, painted the Assumption Cathedral of the Moscow Kremlin, then worked at the Moscow Spaso-Chigasov Monastery and in the Resurrection Kremlin Monastery. monastery, 1500 year - at the Pavlo-Obnorsky monastery. In 1502, together with the sons of Theodosius, Volodymyr and Andriy, Dionysius created one of the greatest ensembles in the Russian middle-class art - frescoes in the Cathedral of the Rizdva Bogoroditsi near the Ferapont Monastery. For a happy life, these frescoes are the smut creation of Dionysius, which has survived to this day.
On the vіdmіnu vіd Andriy Rublov, Dionysіy buvchenets. In yoga science there is practically no ascetic cob. By the robots of the master, one can judge that Dionysius was a human being illuminated, recognized in Russian history, as she knew the chronicles and life literature. At yoga mystectsvі v_dchuvaєtsya vpiv vіzantії. The painting of Dionisiya is light, the inspiration of the little ones, the richness of the farb, the composition of the painting has inspired. “In the art of Dionysius there is nothing sharp, strim, balakuchogo, non-gammon, - the art historians G. Bocharov and V. Vigolov signify. – The painting of Yogo is profoundly contemplative, suggestive of thought, thought, nibito giving one of the provisions of the “Messenger of icon painters”, create the other half of the XV century, which is attributed to the pen of the famous Russian church priest Josip Volotsky. It is necessary to bow to the icons, - to go to the new, - but "we look spiritually for the sake of the icon's vision ... our mind and thought are enlightened to the Divine bajannya that love." In Ferapontov's paintings, one can hear inner enlightenment and love to the people.
The painting covers the entire interior space of the temple from the underside to the stele. Holyness, shaking - the axis of the main mood, which signifies those anger, like the frescoes of the cathedral to shy at the peeping. So, at the stage of the hat benket, the clothes of benketiv, behind the words of P.P. Muratov, “Lights, holy days, decorated with gold and silver brocade and stones, burn with erysipelas fire, greenery and blakitty. Truly, “clothes” clothes, and in such clothes, “benchet” clothes, all the magic of Dionysius on the walls of the Ferapontov Monastery was given to us. In the frescoes of Dionysius, there is grace and peace, goodness and nobility, harmony and light.
The Cathedral of the Ferapontov Monastery was painted, as the rest of the dates were recorded, less than 34 days, and not more than two years, as it was respected earlier. The main theme of the frescoes of the Ferapontovsky temple is the unity of the world of the visible and the invisible, the world of people and the world of “heavenly powers without bodies”. The stench of vitrimani in the spirit of the ancient rule: harmony, unity and nothing else.
Ferapontov's frescoes strike with their richness of color and nobility of tones - low-erysipelas, golden-yellow, buzkovy, greenish, lilac-brown and reddish-brown. Irrespective of the day, the mutedness of the color, the stench creates the affection of the lower and the transparency of the farb. Long ago, it was important that as barns for frescoes, vikoristan and color stones and clay of different colors and colors, you can know on the shores of the Borodavsky and Pasky lakes and in the channels of the strumkiv, which flow into them. The chimneys were crushed, rubbed and mixed with egg white.
This retelling called out to bring the wind of pilgrimage to Ferapontov's artist from Moscow, Leningrad and other places. The stinks joked about similar stones and clay, and they prepared farbi from them according to old recipes. Alezovsim recent investigations, carried out by the specialists of the NDI restoration, brought, scho garna istorija about those, like Dionysius shukav on the shores of lakes of different colors kamіntsі and roztirav їх, preparing farby, no more than a lower kazka. The large farb of the Christmas Cathedral is not a pilgrimage, the stench was prepared using the folding technology of European maistras, and such a farb could be bought either from overseas merchants, or from Russian maisters, as they knew the secret of cooking.
“A rich, uncomplicated bazhanya to respect the paintings of Dionysius created from the ma- tsevih materials was fully understood,- write mysticism O. Lelekova. - He blames his image of a middle-class artist, which is similar to the “billing-song” statement about Russian art, de iconography, and, moreover, the real painting, to become a special kind of art, not similar to anything in the world. However, the image is unreliable, and it is not obov'yazkovo to slander about it. The artistic genius of Dionysius is unparalleled and without poetic cues, which was not demanded by contemporary Europeans: Leonardo da Vinci, Giacomo Bellini, Holbein the Elder, Lucas Cranach…”
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Traditionally, the date of the foundation of the Ferapont Monastery is taken as 1398 p. At the same time, on the hillock between two lakes, Borodaevsky and Pasky, an associate of the Monk Ferapont settles down. Through a sprat of rocks, having succumbed to the attack of the Bilozersk prince Andriy Dmitrovich, he went to Moscow, to Mozhaisk, and fell asleep to another monastery of his own - Luzhetsky.
The Ferapontov Monastery gains wide popularity for the activity of the teachings of Cyril of Bilozersk, the Monk Martinian, the confessor of Vasil II, who was born in 1447 - 1455. Abbot of the Trinity-Sergius Monastery.
In the other half of the 15th - early 16th century, the Ferapontov monastery became a significant spiritual, cultural and ideological center of Bilozir, one of the famous trans-Volz monasteries, whose elders made a serious impact on the politics of Moscow.
The entrustment from the Kirilo-Bilozersk monastery became a traditional place of worship and extraneous representatives of the Russian feudal nobility (Andriy and Mikhailo Mozhaisk, Vasyl III, Ivan IV and others). Z yogo stіn mezhі XV - XVI cent. the archbishop of Rostov and Yaroslavl Ioasaf (Obolensky), the bishop of Perm and Vologda Philotheus, the bishop of Suzdal Ferapont came from the house of the archbishops of the Russian Church, who took their part in the inner life of the country.
At that very hour, great church deacons were sent here, as if they were fighting for the priority of church power over the state (Metropolitan Spiridon-Sava, Patriarch Nikon). The book-writers Martinian, Spiridon, Filofey, Paissy, Matviy, Euphrosyn, the icon-painter Dionysius worked here.
Usі XVI century є the period of the rozkvіtu of the monastery. About tse to certify the savings of contributions and salaries of letters of secular and spiritual power, to the head of Ivan IV. Vasil III and Olena Glinska, Ivan IV come to the monastery for forgiveness. The contributory book of the monastery, published in 1534, names among the contributors of the "princes of Staritsky, Kubensky, Likovykh, Belsky, Shuisky, Vorotinsky ... Godunov, Sheremetiev" and others. Here the lords of Siberia, Rostov, Vologodsk, Bilozersk, Novgorod are born.
For the sake of the relics of the Monk Martinian and further canonization, I will increase respect to the monastery, which will save the growth of investments and income.
To the most patrimonial patrimony of Bilozir'ya - Ferapontov Monastery on the cob of the XVII century. there was a kіlka sil, close to 60 sil, 100 empty, over 300 villagers.
In 1490, the birth of the first stone church of Bilozir'ya, the Cathedral of the Rіzdva Bogoroditsі, began to form the stone ensemble of the Ferapontov Monastery of the XV - XVII centuries.
At the XVI century. near the monastery there will be a monumental refectory, service rooms - a stone dryer, a state chamber, a kitchen chamber. Having agreed after the Lithuanian revolution, in the middle of the XVII century. to call a monastery, .
In 1798, the Ferapontov Monastery had been ordered by decree of the Synod.
In the 19th century, in the parish period, the monastic territory was surrounded by sound.
In 1904, the roci monastyr was revoked as a woman, closing again in 1924 roci.
In this hour, near the monuments of the Ferapont Monastery, the Museum of Frescoes of Dionisius is located, which has the status of a historical, architectural and artistic museum-reserve. The museum, which is a wine on the cob of the 20th century, during the 1930s-1960s, zdіysnyuvav protection memorabilia with only one watchman. Since 1975, the formation of a modern museum began to rock, which turned into a scientific and educational center, which spread knowledge about the unique memorials of the Ferapont monastery ensemble through various forms of museum work. For example, in 2000, the ensemble of the Ferapontov Monastery with the paintings of Dionysius was included in the UNESCO World Heritage List.
Ensemble of the Ferapont Monastery
The complex of monuments of the Ferapontov Monastery with the painting of Dionysius as a rare sight of the security and stylistic unity of the Russian pivnіchny monastic ensemble of the XV - XVII centuries, which reveals the typical features of the architecture of the Russian central state. The ensemble of the Ferapontov Monastery is a holly example of harmony with the natural landscape, which practically did not change from the 17th century, which reinforces the peculiarities of the spiritual order of the blacksmiths, at the same time reveals the peculiarities of the state's agricultural way of life.
Budinki of the monastery, maybe, alone on the Russian Pivnochi, saved everything characteristic features decor and interiors.
