Стилістика ранньохристиянських катакомб у сучасних розписах нижніх храмів: порівняльний аспект творчості іконописців

Abstract

У статті досліджено стилістичні особливості ранньохристиянських розписів у порівнянні з сучасними стінописами нижніх храмів, що за специфікою художнього оформлення близькі до катакомбного вирішення. Розглянуто, наскільки можливе поєднання мистецтва різночасових культур при розробці системи розпису нового пам’ятника. Охарактеризовано художні тенденції в оздобленні нижніх храмів Росії та України початку ХХI ст.

В статье исследовано стилистические особенности раннехристианских росписей в сравнении с современными стенописями нижних храмов, по специфике художественного оформления близких к катакомбному решению. Рассмотрено, насколько возможно сочетание искусства разновременных культур при разработке системы росписи нового памятника. Охарактеризовано художественные тенденции в отделке нижних храмов России и Украины начала ХХI в.

In the article the modern stylistic features murals of the lower church, on the specifics of decoration close to the catacombs, and compares them with early Christian frescoes. Analyzed what kind of subjects, principles of space and methods for creating an image of worship were borrowed by modern masters. On the example of high artistic level is considered as possible combination of art multi-cultures in the development of the painting of a new monument. To characterize the basic tendencies in the artistic decoration of the lower church of Russia and Ukraine in the early twenty-first. Among the favorites for the analysis include the temple baptismal Saints Zosima and Sabbatius of Solovki Trinity-Sergius Lavra (2002), he managed the project Alexander Soldatov, he is a teacher of icon painting school at the Moscow Theological Academy (MТA). The second churcn is a baptismal temple of the Holy Prince Dimitry Donskoy courtyard of Trinity-Sergius Lavra. The ensemble was created by creative collective of graduates of icon painting school in the MDA. The project manager has Valery Fyodorov. The works were carried out in 2005–2006 years in the art of painting of silicate. The third temple is crypt Saint north, which is part of the lower church of St. Elias Monastery in Odessa in honor of the holy Venerable Paisius Velichkovsky and Gabriel of Athos, which was painted in 2013 under the guidance Ivanova Tatiana. The painters of monumental graduates of Kharkiv State Academy of Design and Arts. In these temples influence of catacomb paintings resulted in the predominance of ornamental and symbolic motifs, images of birds, flowers, images of bowls. Also borrowed a total composite system and color, imitation marble slabs in the lower tier, lightness and transparency of the painting. Consideration of temples show that dialogue is possible multi-cultures and brings new and interesting results of the study provided meaningful and justified the use of elements to create a coherent ensemble and avoiding eclecticism. The pioneers in this field are the Moscow masters and this is their merit, but the young Kharkov artists exploring their creativity and all the heritage of Christian art, try to go further, supporting and developing these traditions in modern religious art.