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St. Basil's Cathedral, also called "The Cathedral of the Protection of the Most Holy Theotokos on the Moat," or the "Temple of Saint Basil the Blessed," is an Eastern Orthodox Church in Moscow, Russia. The cathedral is a popular search on Wikipedia not only because it is a marvel of architecture, but because it serves as an important edifice for Orthodox Christians around the world. A major tourist attraction, the Cathedral gets more visitors every year than any other historical site in Moscow. Sitting on the Red Square, St. Basil's western facade faces the Kremlin, where the preserved corpse of Vladimir Lenin lies entombed for onlookers to see. Although the Red Square is typically packed with tourists, many native Russians also frequent the area, especially at the end of the work day. By sunset, most tourists will have left only to be replaced by hundreds of Russians just finishing work. At that time, surrounded by natives, the "real" Red Square experience comes alive. The colorful spires and cupolas of St. Basil become even more stunning when framed against a setting sun.
This is the first book to show the development of Russian architecture over the past thousand years as a part of the history of Western architecture. Dmitry Shvidkovsky, Russia’s leading architectural historian, departs from the accepted notion that Russian architecture developed independent of outside cultural influences and demonstrates that, to the contrary, the influence of the West extends back to the tenth century and continues into the present. He offers compelling assessments of all the main masterpieces of Russian architecture and frames a radically new architectural history for Russia. The book systematically analyzes Russian buildings in relation to developments in European art, pointing out where familiar European features are expressed in Russian projects. Special attention is directed toward decorations based on Byzantine models; the heritage of Italian master builders and carvers; the impact of architects and others sent by Elizabeth I; the formation of the Russian Imperial Baroque; the Enlightenment in Russian art; and 19th- and 20th-century European influences. With over 300 specially commissioned photographs of sites throughout Russia and western Europe, this magnificent book is both beautiful and groundbreaking.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 22. Chapters: Alexander Nevsky Cathedral, Moscow, Cathedral of Christ the Saviour, Cathedral of the Annunciation, Cathedral of the Archangel, Cathedral of the Immaculate Conception (Moscow), Dormition Cathedral, Moscow, Kazan Cathedral, Moscow, Saint Basil's Cathedral, Yelokhovo Cathedral. Excerpt: The Cathedral of the Protection of Most Holy Theotokos on the Moat (Russian: ) or Pokrovsky Cathedral (Russian: ) - both are official names used by the Russian Orthodox Church - also known as the Cathedral of St. Vasily the Blessed (Russian: ), is a Russian Orthodox church erected on Red Square in Moscow in 1555-61 on orders from Ivan the Terrible. It commemorates the capture of Kazan and Astrakhan. St. Basil's marks the geometric center of Moscow. It has been the hub of the city's growth since the 14th century and was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600. The original building, known as "Trinity Church" and later "Trinity Cathedral," contained eight side churches arranged around the ninth, central church of Intercession; the tenth church was erected in 1588 over the grave of venerated local saint Vasily (Basil). In the 16th and 17th centuries the church, perceived as the earthly symbol of the Heavenly City, as happens to all churches in Byzantine Christianity, was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the tsar. The building is shaped as a flame of a bonfire rising into the sky, a design that has no analogues in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to fifteenth century ......
Byzantium in Eastern European Visual Culture in the Late Middle Ages focuses on how the heritage of Byzantium was continued and transformed alongside local developments in the artistic and cultural traditions of Eastern Europe between the fourteenth and sixteenth centuries.
This is the unlikely history of a centuries old church located at the heart of England's capital city. Founded in the early-18th century by a Greek Archbishop from Alexandria in Egypt, the church was aided by the nascent Russian Empire of Tsar Peter the Great and joined by Englishmen finding in it the Apostolic faith. The church later became a spiritual home for those who escaped the upheavals following World War II or who sought economic opportunities in the West after the fall of communism in Russia. For much of this time the parish was a focal point for Anglican-Orthodox relations and Orthodox missionary endeavors from Japan to the Americas. This is a history of the Orthodox Church in the West, of the Russian emigration to Europe, and of major world events through the prism of a particular local community. The book calls on stories from an array of persons, from archbishops to members of Parliament and imperial diplomats to post-war refugees. Their lives and the constantly changing mosaic of global political and economic realities provide the background for the struggle to create and sustain the London church through time.
Allan Doig explores the Christian Church through the lens of twelve particular churches, looking at their history, archaeology, and how the buildings changed over time in response to developing usage and beliefs.
This fascinating volume invites colorists of all ages to color detailed illustrations of 40 great churches from around the world. Includes St. Paul's (London), Chartres (France), Notre Dame (Paris), Cologne (Germany), St. Peter's (Rome), St. Basil's (Moscow), St. Patrick's (New York), the Washington Cathedral, and more.
The dramatic transformation of Russian architecture from the 1880s to the 1917 revolution reflected the profound changes in Russian society as it entered the modern industrial age. William Craft Brumfield examines the extraordinary diversity of architectural styles in this period and traces the search by architects and critics for a "unifying idea" that would define a new architecture. Generously illustrated with archival materials and with the author's own superb photographs, this is the first comprehensive study by a Western scholar of a neglected period in European architectural and cultural history. Brumfield explores the diverse styles of Russian modernism in part by analyzing the contemporary theoretical debate about them: the relation between technology and style, the obligation of architecture to society, and the role of architecture as an expression of national identity. Steeped in controversy, Russian modernism at the beginning of the century foreshadowed the radical restructuring of architectural form in the Soviet Union during the two decades after the revolution. This authoritative work provides a new understanding of Russian architecture's last brief entrepreneurial episode and offers insight on our own era, when individual freedom and initiative may once again find expression in Russian architecture. The dramatic transformation of Russian architecture from the 1880s to the 1917 revolution reflected the profound changes in Russian society as it entered the modern industrial age. William Craft Brumfield examines the extraordinary diversity of architectural styles in this period and traces the search by architects and critics for a "unifying idea" that would define a new architecture. Generously illustrated with archival materials and with the author's own superb photographs, this is the first comprehensive study by a Western scholar of a neglected period in European architectural and cultural history. Brumfield explores the diverse styles of Russian modernism in part by analyzing the contemporary theoretical debate about them: the relation between technology and style, the obligation of architecture to society, and the role of architecture as an expression of national identity. Steeped in controversy, Russian modernism at the beginning of the century foreshadowed the radical restructuring of architectural form in the Soviet Union during the two decades after the revolution. This authoritative work provides a new understanding of Russian architecture's last brief entrepreneurial episode and offers insight on our own era, when individual freedom and initiative may once again find expression in Russian architecture.