The Church of the Ascension in Livadia and Byzantine Architectural Style. Imperial Commission and Project Execution

2020 ◽  
pp. 78-110
Author(s):  
Инесса Николаевна Слюнькова
Keyword(s):  
Project Development ◽  
Architectural Heritage ◽  
Architectural Style ◽  
Heritage Studies ◽  
Imperial Art ◽  
Characteristic Features ◽  
The Church

Поднимается проблема изученности наследия русской церковной архитектуры, которая напрямую связана с требованиями идентичности и практикой воссоздания утраченных памятников. Работа является первым историко-архитектурным исследованием Вознесенской церкви в Ливадии (1869-1876, разобрана в 1929, воссоздание начато в 2016). Обозначены черты, характерные для императорского искусства, присущие храмам Ливадии, архитектуре Владимирского собора в Херсонесе. Вознесенская церковь рассматривается в контексте становления византийского стиля в русской архитектуре эпохи историзма. Раскрывается история и символика названия Ливадия, методы и характер обращения архитекторов и заказчиков к традиции древних византийских и греческих храмов. Показаны основные этапы составления проекта и ход строительства Вознесенской церкви, приводятся данные об освящении храма и учреждении церковного причта. Публикуются проекты архитекторов И. А. Монигетти и А. Г. Венсана. Выдвигается гипотеза о создании Вознесенской церкви в Ливадии с опорой на образец кафоликона монастыря Осиос Лукас и памятники Афона. В основу изысканий положены вновь выявленные архивные материалы, проектные чертежи, рисунки, старые фотографии. In the article the author rises the problem of Russian church architectural heritage studies. This problem is directly linked to the practice and requirements of lost monuments’ identity restoration. This paper is the first historical and architectural study of the Church of the Ascension in Livadia (1869-1876, deconstructed in 1929, restoration began in 2016). The author highlights the characteristic features of the Imperial art common for Livadia churches and the architecture of Saint Vladimir Cathedral in Chersonese. The Church of the Ascension is analyzed in the context of the formation of Byzantine style in Russian architecture of the ageofhistoricism. The article explicates the history and the symbolism of Livadia name as well as the methods and the character of architects and commissioners’ use of Byzantine and Greek churches tradition. The author shows the main stages of project development and construction of the Church of the Ascension, brings data on the dedication of the church and on the church pricht establishing. The article features Monighetti’s and Vincent’s published projects. The author hypothesizes that the construction of the Church of the Ascension in Livadia was inspired by the catholicon of Hosios Loukas monastery and Athos monuments. The study is based on the newly discovered archive materials, project drafts, pictures, old photographs.

Mesyatseslovs memory of the Russian Orthodox Church

2020 ◽  
pp. 160-198
Author(s):  
Макарий Веретенников
Keyword(s):  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church ◽  
Analysis And Synthesis ◽  
Liturgical Texts ◽  
History Of ◽  
Complete Form ◽  
Characteristic Features ◽  
Heaven And Earth ◽  
The Church

Статья посвящена содержанию, общим принципам построения и характерным особенностям календаря, или месяцеслова, Русской Православной Церкви. Автор использует методы анализа и синтеза. В итоге делаются нижеследующие обобщения. Месяцеслов был принесён на Русь из Византии в достаточно завершённом виде, однако в процессе исторического развития он дополнился особенными русскими праздниками. Календарь-месяцеслов - это грандиозный собор святых, подвизавшихся в разных местах на протяжении веков, единение Церкви Небесной и земной, история святости и история нашей Церкви. Месяцесловным памятям посвящены составленные гимнографами богослужебные тексты, которые поются и читаются в храмах. Традиционно почитается день кончины угодников Божиих, память открытия мощей святых, перенесения их святых мощей или же день канонизации угодников Божиих, реже - день их рождения. Фенологические наблюдения русского народа связаны с повседневной деятельностью и увязаны с месяцесловом, что свидетельствует о его проникновении в повседневную жизнь русского человека. The article is devoted to the content, General principles of construction and characteristic features of the calendar, or mesyatseslov, of the Russian Orthodox Church. The author uses methods of analysis and synthesis. As a result, the following generalizations are made. The mesyatseslov was brought to Russia from Byzantium in a fairly complete form, but in the course of historical development it was supplemented with special Russian holidays. The calendar-mesyatseslov is a grandiose council of saints who have labored in different places over the centuries, the unity of the Church of Heaven and earth, the history of holiness and the history of our Church. Liturgical texts composed by hymnographers, which are sung and read in churches, are dedicated to the mesyatseslovs memory. Traditionally, the day of the death of saints, the memory of the discovery of the relics of saints, the transfer of their Holy relics, or the day of the canonization of saints, less often - the day of their birth are honored. Russian people’s phenological observations are related to their daily activities and are linked to mesyatseslov, which indicates its penetration into the daily life of the Russian people.

UKRAINIAN ARCHITECTURAL MODERN STYLE IN THE WORKS OF IVAN LEVINSKY

2021 ◽  
Vol 3 (2) ◽  
pp. 18-27
Author(s):  
Hnidets R ◽  
◽  
Yasinskyi Ya ◽  
Keyword(s):  
National Culture ◽  
European Countries ◽  
Architectural Heritage ◽  
Architectural Style ◽  
Modern Style ◽  
Western European ◽  
First Time ◽  
Church Buildings

The article considers the formative features of the formation of the Ukrainian architectural style (modern style) as a phenomenon that has accumulated both properties characteristic of the style of Western European countries, and national traditions of the formation of folk housing or sacred construction. Ukrainian architectural style (modern style) has become an outstanding phenomenon in the development of domestic and European architectural art. It has absorbed many features that have become common to the pan-European architectural heritage, with its features and differences in the varieties of its expression. During the XIX-early XX centuries, church buildings appear in temple architecture, and they were based on the foundations of a "modern" or "realistic" understanding of shaping. Therefore, there is a focus on national culture and traditions, in an innovative sound. Linearity and decorativeness are manifested in stylistic solutions and detailing of decorative elements and inserts. In Galicia, for the first time in 1894, a building was implemented that embodied the above-mentioned features and principles of the formation of the UAS (UAMS). And its creator was the famous architect and industrialist Ivan Levinsky, professor of Lviv Polytechnic.

Broken History and Crumbling Stones: The Romantic Conception of Architectural Preservation

Slavic Review ◽  
2012 ◽  
Vol 71 (4) ◽  
pp. 745-765 ◽  
Author(s):  
Andreas Schönle
Keyword(s):  
Collective Memory ◽  
Architectural Heritage ◽  
Romantic Period ◽  
Historical Landscape ◽  
The Past ◽  
Architectural Preservation ◽  
Romantic Conception ◽  
The Church ◽  
National Style

In this article Andreas Schönle explores the treatment of ruins in the Romantic period, in particular the propensity toward holistic reconstruction, rather than preservation of architectural heritage. He argues that the Romantic disregard of extant heritage harks back to the Sentimentalist infatuation with the fleetingness of life and dramatization of loss, that this melancholy feeling stoked a sense of national victimization, and that it legitimated an imaginary reinvention of the past and the constructedness of collective memory. The Church of the Tithe in Kiev serves as a case study illustrating that the Romantic commitment to totality has resulted in the significant destruction of architecture. Depictions of its ruins in travel accounts and in the writings of Vadim Passek and Andrei Murav'ev evidence a marked desire to exacerbate the sense of loss rather than to describe and valorize the remains. This disregard of heritage reprises the Sentimentalist infatuation with melancholy prominently deployed by Nikolai Karamzin. A comparison with Eugène Viollet-le-Duc in France and Augustus Pugin in England indicates that in Russia the invention of a national style of architecture required a much more radical imposition upon the historical landscape.

THREE STORIES FROM THE MARGINS OF LITHUANIAN HERITAGE PROTECTION / IŠ LIETUVIŠKOS PAVELDOSAUGOS PARAŠČIŲ: TRYS ISTORIJOS

2012 ◽  
Vol 36 (1) ◽  
pp. 54-62 ◽  
Author(s):  
Nijolė Lukšionytė
Keyword(s):  
The State ◽  
Cultural Property ◽  
Alternative Possibilities ◽  
Architectural Heritage ◽  
The Family ◽  
Detached House ◽  
Heritage Protection ◽  
The Veil ◽  
The 19Th Century ◽  
The Church

The article discusses three objects of Kaunas architectural heritage, which represent different cases of heritage treatment in the years of independence. In Soviet times, a building of the Communist Party Committee blocked the gothic church of St Gertrude to an enclosed yard. This building was demolished by the civic initiative organised by the Sąjūdis movement in 1989. The church was restored using the state funds in 1991–1994. A small wooden suburban manor was built in Baritonai Street in the middle of the 19th century. It had belonged to the Petravičiai family for one hundred years. The house has been deserted since 1994. The local authority of Kaunas has been working on privatisation documents for so long that the house has entirely crumbled. A detached house of the famous architect Vytautas Landsbergis-Žemkalnis represents the interwar modernism. After restoration of independence, it was returned to his family. The family sold the house. Although it was included to the Register of Cultural Property and declared protected by the state, the new owners have transformed the exterior of the house completely in 2004–2005. The two last-mentioned examples symptomatically reveal a crisis of values in Lithuanian heritage protection. A punctilious legalism enables institutions responsible for heritage protection to hide under the veil of law-making rather than bother with alternative possibilities of preservation. Santrauka Straipsnyje aptariami trys Kauno architektūros paveldo objektai, reprezentuojantys skirtingus elgesio su paveldu atvejus nepriklausomybės metais. Gotikinę Šv. Gertrūdos bažnyčią į uždarą kiemą užblokavęs komunistų partijos komiteto pastatas buvo nugriautas Atgimimo sąjūdžio organizuotos visuomenės iniciatyva 1989 m., o pati bažnyčia 1991–1994 m. restauruota valstybės lėšomis. Medinis XIX a. vidurio priemiesčio dvarelis Baritonų g. 6, šimtą metų priklausęs Petravičių šeimai, nuo 1994 m. stovi tuščias, miesto savivaldybė tol rengė dokumentus privatizacijai, kol namas visai sugriuvo. Žymaus architekto Vytauto Landsbergio-Žemkalnio kotedžas, reprezentuojantis tarpukario modernizmą, atkūrus nepriklausomybę buvo grąžintas šeimai. Jos nariai namą pardavė, naujieji savininkai 2004–2005 m. visiškai pertvarkė išorę, nors objektas jau buvo įtrauktas į Kultūros vertybių registrą ir paskelbtas valstybės saugomu. Šie du pavyzdžiai simptomiškai atskleidžia vertybių krizę Lietuvos paveldo apsaugos srityje. Utilitarus legalizmas leidžia paveldosaugos institucijoms prisidengti įstatymo formule ir nesivarginti ieškant alternatyvių išsaugojimo galimybių.

scholarly journals Sv. Mihajlo; Ston; arhitektura; skulptura; zidne slike; 10. stoljeće; 11. stoljeće; Mihajlo Višević; Stefan Vojislav

Ars Adriatica ◽  
2016 ◽  
pp. 41
Author(s):  
Ivana Tomas
Keyword(s):  
Middle Ages ◽  
Human Face ◽  
Architectural Heritage ◽  
Historical Sources ◽  
The West ◽  
Patron Saint ◽  
Probable Reason ◽  
Ground Plan ◽  
Military Campaigns ◽  
The Church

St Michael’s church in Ston is an important monument of medieval architectural heritage within a wider area of Dubrovnik and the only positively attested monument of the so-called southern Dalmatian single-nave dome type in the area of historical Zahumlje. The church stands on the top of the Gradac hill or St Michael’s Mount (107 m.a.s.l.), at the location of an earlier fortification. Based on an analysis of St Michael’s architecture, as well as its stone furnishing, the author has argued that the church is pre-Romaneseque in origin. It has also been suggested that the belfry (the structure to the west) was built together with the church, since the concept of the ground plan (the width-length ratio, the slightly protruding apse), its small dimensions, as well as its vertical stratigraphy (the belfry and the dome) indicate that it was constructed as a ruler’s chapel. It is most probable that the church was dedicated to Archangel Michael from the very beginning, as the cult of the heavenly host-leader as the patron saint of rulers and their military campaigns was widespread among the upper classes in the early Middle Ages. The time of construction should most probably be connected with the first historically attested and significant ruler of Ston – Duke Mihajlo Višević (before 910 – after 928), who raised Ston to an administrative and ecclesiastical centre of this Sclavinia. An analysis of the younger layer of sculpture in St Michael’s (the monumental window frames and a fragment with human face), as well as its murals, has suggested that the ruler’s chapel was furnished more richly around the mid-11th century. Considering the historical sources on Ston in this period, it has been suggested that its renovation took place at the initiative of Stefan Vojislav (before 1018 – 1043/1050), founder of the Vojislavljević dynasty. This hypothesis is supported by the fact that Vojislav, having defeated Byzantium and its allies (among them the distinguished Duke Ljutovit of Zahumlje) conquered the seat of Zahumlje’s rulers. It may be presumed that he spent some time there as well, since the Byzantine writer Kekaumenos mentions that Vojislav was a toparch in Ston and that he captured the strategos of Dubrovnik. Thus, the conquest of Ston, as well as the glorious victory over both Byzantium and Ljutovit leading the allied army, imposes itself as the probable reason why Stefan Vojislav renovated the church in Ston, namely in order to celebrate his military triumph in the chapel of the defeated ruler of Zahumlje. The reconstruction most probably took place between 1042/43 and 1050, after Vojislav’s victory and before his death.

scholarly journals Toward Maintaining the Identification and Architectural Heritage to Develop the Historical Areas in Ain Al-Sira

2020 ◽  
Vol 2 (2) ◽  
pp. 237
Author(s):  
Omnia Ibrahim Shokry ◽  
Mahmoud Mohamed Khalifa ◽  
Shaima Nabil Abdel
Keyword(s):  
Residential Buildings ◽  
Time Factors ◽  
International Standards ◽  
Historical Background ◽  
Architectural Heritage ◽  
Architectural Style ◽  
Architectural Form ◽  
Tourist Destinations ◽  
Ancient Monuments ◽  
New Research

Despite the State’s exerted efforts in preserving Egyptian monuments as tourist destinations, Ain Al-Sira area has been suffering from multiple problems. The modern construction arts within the historical area and its architectural heritage have been ignored, as well as the construction of contemporary residential buildings not related to the historical area. The purpose of the research is to develop the architectural heritage of the residential neighborhoods in Ain Al-Sira in line with the architectural facades of the ancient historical monuments with a view to the restoration of these monuments, which have changed their faces and their architectural efficiency due to their obsolescence, weather and time factors and overcoming the scarcity of maintenance and restoration works. The new research includes the development of interim strategies in the implementation of the restoration and development of monuments and architectural style of residential neighborhoods in the area of Ain Al-Sira.The motive of the research was the existence of a problem in the current local architectural formations, which is the lack of integration and harmony of ancient monuments with new neighborhoods and the imbalance between them. The descriptive and analytical approach has been followed to clarify existing effects and what is required to be developed The research dealt with the analysis and presentation of the importance and the historical background of the area of Ain Al-Sira, with its ancient monuments, that we came to the current residential and architectural form between the shape of ancient monuments and modern dwellings, as well as the presentation of architectural problems in the region. To propose appropriate solutions for the development of the region in accordance with local and international standards and laws in order to find the most appropriate methods for architectural processing and the research will contain: On the proposals and plans necessary to develop the architectural style between the old and modern in the area of Ain El – Sira  .

MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION

2021 ◽  
pp. 245-256
Author(s):  
Daria A. Edakina ◽  
◽  
Eduard I. Chernyak ◽  
Keyword(s):  
18Th Century ◽  
Order System ◽  
Architectural Heritage ◽  
Architectural Style ◽  
Cultural Experience ◽  
Heritage Sites ◽  
Long Time ◽  
Surrounding Space ◽  
Architectural Tradition

The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.

Palaiologan Constantinople and a New Architectural Idiom

2019 ◽  
pp. 595-619
Author(s):  
Robert G. Ousterhout
Keyword(s):  
Church Of Christ ◽  
Clear Relationship ◽  
Small Scale ◽  
Architectural Style ◽  
Cultural Revival ◽  
Interior Spaces ◽  
New Construction ◽  
Exterior Forms ◽  
The City ◽  
The Church

Following the reconquest of Constantinople in 1261, the city experienced a brief cultural revival, marked by significant works of restoration and new construction to reconnect the city to its past glory. Older monastic establishments were expanded, often with large chapels for the privileged burials of the aristocracy. The new architectural style of the period is best represented by the Church of Christ in the Chora Monastery, the best preserved project of the period, characterized by small-scale relationships in its design, picturesque asymmetries, and the lack of a clear relationship between the exterior forms and the interior spaces.

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