/
Search results


Давидова М. Г. Значение термина «программа росписей» для церковного монументального искусства // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2015. Вып. 3 (19). С. 120-129. DOI: 10.15382/sturV201519.120-129
The notion of «decorative program» of church painting exists in scientifi c tradition of art study since its very beginning in the 19th century. Notwithstanding this early representation of the notion its terminological aspect has rather obscure character even in modern science. In Russian scientific tradition of the 19th century the term was applied to ensemble of orthodox murals in iconographical works by N. Kondakov and N. Pokrovsky. The most part of their studies concerns sacred images, its composition and symbolism. The term «decorative program» is used to signify some universal principals of the ensemble of monumental painting. The term differs in its meaning in works by Otto Demus, implying the canon of image arrangement in church interior and the iconographical scheme for its separate compartments (cupola, altar). In modern science this notion can not be abridged to its iconographical meaning, but includes different levels of interpretation. The decorative program of church painting implies complete ensemble of traditional images consisting of subordinate parts (schemes). The character of this subordination is determined by hierarchical principle. The arrangement of images in subordinate compartments of the interior depends on a canon, which determines not only the selection of the compositions, but also its internal combination. The whole ensemble is organized by single (main) theological theme, which can be amplified with details, dictated by the type of the commission (burial chapel, memorial edifi ce etc.).
decorative program of orthodox painting, combination of images for the separate compartments of the church interior (scheme), canon for internal arrangement of images in local unions

1. Babich G., Korach V., Chirkovich S. Studenica, Beograd, 1986.
2. Drevnerusskoe iskusstvo. Hudozhestvennaja kul'tura X — pervoj poloviny XIII v. (Art Culture of X — First Half of XIII Cent.), Moscow, 1988.
3. Ierusalim v russkoj kul'ture (Jerusalem in Russian Culture), Moscow, 1994.
4. Lazarev V. N. 1971 “Sistema zhivopisnoj dekoracii vizantijskogo hrama IX–XI vv.” (System of Painting Decoration in Byzantine Church of IX–XI Cent.), in Lazarev V. N. Vizantijskaja zhivopis', Moscow, 1971, pp. 96–107.
5. Pivovarova N. V. Freski cerkvi Spasa na Neredice v Novgorode: ikonograficheskaja programma rospisi (Frescos of Church of Spas na Neredice in Novgorod: Iconographic Program of Painting), Saint-Petersburg, 2002, pp. 26–32.
6. Pokrovskij N. V. Ocherki pamjatnikov pravoslavnoj ikonografii i iskusstva (Essays on Memorials of Orthodox Iconography and Art), Saint-Petersburg, 1894.
7. Uspenskij L. A. Bogoslovie ikony Pravoslavnoj Cerkvi (Theology of Icon of Orthodox Church), Moscow, 1989.
8. Shtender G., Sivak S. 1995 “Arhitektura inter'era novgorodskogo Sofijskogo sobora i nekotorye voprosy bogosluzhenija” (Architecture of Interior of Novgorod Sophia Cathedral and Some Questions of Service), in Akent'ev K. K. (ed.) Vizantinorossika. Tr. Sankt-Peterburgskogo obshhestva vizantino-slavjanskih issledovanij, Saint-Petersburg, 1995, vol. 1: Liturgija, arhitektura i iskusstvo vizantijskogo mira, pp. 288–297.
9. Byzantinische Mosaiken aus Jordanien, Wien, 1986.
10. Demus O. Byzantine Mosaic Decoration. Aspects of Monumental Art in Byzantium, Leningrad, 1947.
11. Hueck I. Das Programm der Kuppelmosaiken im Florentiner Baptisterium, Mondorf, Rhein, 1962.
12. Mango C. Byzantine Architecture, New York, 1976.
13. Taft R. 1995 “Church & Liturgy in Byzantium: the Formation of the Byzantine Synthesis”, in Vizantinorossika. Tr. Sankt-Peterburgskogo obshhestva vizantino-slavjanskih issledovanij, Saint-Petersburg, 1995, vol. 1: Liturgija, arhitektura i iskusstvo vizantijskogo mira, pp. 13–29.
14. Underwood P. A. The Kariye Djami, New York, 1975, vol. 4.
Давидова М. Г. Современная роспись храма: стиль и программа — система взаимодействия // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 2 (22). С. 156-165. DOI: 10.15382/sturV201622.156-165
It is obvious that system of church painting implies certain interconnection between style and decorative program. Today in Russian painting exist several most popular stylistic trends: «Rublev» style, Byzantium tradition of Macedonian and Palaeologan art. The most early tendency of church painting shows monumental style of Ancient classicism of the 11th century. The main part of cupola ensemble represents the images of Christ the Almighty, Ascension or Pentecost. The subordinate zones are occupied with the stood full-length figures of the Saints. Festival Cycle compositions in the interior include 4–6 images. Palaeologan style implies rather complicated narrative cycles with Renaissance figures. Decorative program may be determined by Balkan models: Passion Cycle on the west wall, «Celestrial Liturgy» in the dome. «Rublev» style of Moscow painting of the 15th century is connected with certain exactness for figure size in each part of a church, as well as color distinction for each hierarchical zone.
decorative program of orthodox painting, Macedonian and Palaeologan art, Festival Cycle, Balkan models, hierarchical zones.

1. Kolpakova G. S. Iskusstvo Vizantii. Pozdnij period (Byzantine Art. Late Period), Saint-Petersburg, 2004.
2. Krylov A. K. 2011 “Novye dannye o mozhajskih freskah XVI v. (po rezul'tatam issledovanij 1996–1999 gg.)” (New Data about Mozhajsk Frescos of XVI Cent. (on Results of Studies of 1996–1999)), in Krylov A. K. Koloristicheskij simvolizm drevnerusskoj stenopisi (stat'i, issledovanija, zametki), Saint-Petersburg, 2011, pp. 253–270.
3. Lazarev V. N. 1971 “Sistema zhivopisnoj dekoracii vizantijskogo hrama IX–XI vv.” (Art Decoration System of Byzantine Church of IX–XI Cent.), in Lazarev V. N. Vizantijskaja zhivopis', Moscow, 1971, pp. 96–107.
4. Iulianija, nun (Sokolova M. N.). Trud ikonopisca (Work of Icon-Painter), Svjato-Troickaja Sergieva Lavra, 1998.
5. Peshke I. Monumental'naja zhivopis' jepohi Dzhotto v Italii. 1280–1400 (Monumental Paintings of Epoch of Giotto in Italy. 1280–1400), Moscow, 2003.
6. Sovremennaja pravoslavnaja ikona (Modern Orthodox Icon), Moscow, 1994.
7. Jazykova I. «Se tvorju vse novoe…» Ikona v XX veke (“Behold, I Make All Things New…” Icon in XX Century), Moscow, 2002, pp. 143–144.
8. Borsook E. The Mural Painters of Tuscany from Cimabue to Andrea del Sarto, London, 1980.
9. Demus O. Byzantine Mosaic Decoration. Aspects of Monumental Art in Byzantium, London, 1947.
10. Hertlein E. Die Basilika San Francesco in Assisi, Florence, 1964.
11. Martindale A. Simone Martini, Oxford, 1988.
12. Prokopp M. Pietro und Ambrogio Lorenzetti, Berlin, 1985.
13. Smart A. The Dawn of Italian Painting, 1250–1400, Oxford, 1978.