Yaroslavl traditions in the classicist period of church wall-painting in Tver region

Anna L. Pavlova
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Abstract

In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.
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特维尔地区古典主义时期教堂壁画的雅罗斯拉夫尔传统
文章试图厘清特维尔东北部地区艺术文化在 19 世纪蓬勃发展的源头,这种文化在教堂壁画中表现得尤为突出。从 19 世纪初开始,来自雅罗斯拉夫尔市的画家在特维尔地区积极创作,并将雅罗斯拉夫尔的各种传统引入美术领域。雅罗斯拉夫尔画家的语言特点之一是在古典主义风格背景下将古俄罗斯和西欧风格结合起来,这在特维尔地区的古迹中得到了体现。目前,通过圣像绘画的例子,专业文献对 19 世纪初不同趋势并存的现象有了很好的了解。类似的情况也发生在纪念碑艺术中,但迄今为止学术文献尚未对此进行研究。雅罗斯拉夫尔画家班什奇科夫(Banshchikov)和斯米尔诺夫(Smirnov)的作品作为未经翻新或修复的壁画杰作被保存在卡申复活大教堂中。通过大教堂壁画的例子,我们分析了雅罗斯拉夫尔画家的创作手法,特别是在根据克里斯托夫-魏格尔《圣经》(1695 年)中流行的德国版画创作的绘画方案中使用罕见的《旧约全书》。对雅罗斯拉夫尔画家在泽连措沃村 Korsun 圣母教堂圣像和特维尔东北部地区一些壁画中的风格进行了比较。对地区间联系的分析和对古典主义时期古老俄罗斯传统坚固性的研究有助于加深人们对 19 世纪上半叶俄罗斯艺术发展的认识。对于与特维尔地区接壤的雅罗斯拉夫尔地区来说,雅罗斯拉夫尔作为一个强大的纪念碑艺术中心,成为了新艺术传统的主要来源之一。
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