Pub Date : 2021-08-09DOI: 10.52603/arta.2021.30-1.04
Alla Chastina
Religious architecture in Bessarabia from the beginning of the XIX century to 1917 is the subject of special research, since many architects, who worked during this period designed the buildings of monasteries, Orthodox, Catholic and Lutheran churches, chapels, houses of worship and synagogues. The creativity of such architects as Luka Zaushkevich, Alexander Bernardazzi, Leopold Scheidewandt, Karl Gasquet, George Cupcea, Mikhail Serotsinsky, Vladimir Tiganco, Lavrentii Lozinsky and others was especially vivid. Their heritage in church art is very diverse and worthy of careful study. On the one hand, the study opens new unknown pages related to the history of architecture and the creative practice in Bessarabia during the specified period. On the other hand, the newly discovered archival materials on this topic will be allow to reveal and supplement the authorship of many religious buildings in Bessarabia. The article examines both published materials and archival documents, some designs of religious buildings built in Bessarabia, due to which new facets of the talents of architects become more obvious and are of interest both for the history of architecture and, in general, for the preservation of the rich cultural heritage of the Republic of Moldova
{"title":"Architects and construction of religious buildings in Bessarabia (Second half of the XIX century - 1917)","authors":"Alla Chastina","doi":"10.52603/arta.2021.30-1.04","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.04","url":null,"abstract":"Religious architecture in Bessarabia from the beginning of the XIX century to 1917 is the subject of special research, since many architects, who worked during this period designed the buildings of monasteries, Orthodox, Catholic and Lutheran churches, chapels, houses of worship and synagogues. The creativity of such architects as Luka Zaushkevich, Alexander Bernardazzi, Leopold Scheidewandt, Karl Gasquet, George Cupcea, Mikhail Serotsinsky, Vladimir Tiganco, Lavrentii Lozinsky and others was especially vivid. Their heritage in church art is very diverse and worthy of careful study. On the one hand, the study opens new unknown pages related to the history of architecture and the creative practice in Bessarabia during the specified period. On the other hand, the newly discovered archival materials on this topic will be allow to reveal and supplement the authorship of many religious buildings in Bessarabia. The article examines both published materials and archival documents, some designs of religious buildings built in Bessarabia, due to which new facets of the talents of architects become more obvious and are of interest both for the history of architecture and, in general, for the preservation of the rich cultural heritage of the Republic of Moldova","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43923906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.18
V. Kravcenko
The paper examines the creative segment of digital art, which has been carried out by professional graphic artists in the independent Republic of Moldova, including finished artworks produced in big and small print runs, and also unique graphic works. Sketches and technical drawings of any kind are excluded from the study. Important data is provided about different images (chiesel works, book illustrations, caricatures, postage stamps, ex-librises), which were rendered digitally both in full and in part. Also, concise information is offered on the professionals practicing the respective type of digital art over the years. There is also contoured the process of nationwide spread of the digital images and the specifity of the digital creative tool. The author also examines the professional attitude towards digital art in the Republic of Moldova in terms of the relationship between mass production, traditional handmade art and digital execution technique. The reasons and conditions for the dissemination of digital images in national art are specified. The dynamics of opinions on the role of the computer in the creation and modification of graphic works at different stages of the evolution of digital and traditional technology in the Republic of Moldova is traced.
{"title":"Some issues on the development of digital art in the Republic of Moldova","authors":"V. Kravcenko","doi":"10.52603/arta.2021.30-1.18","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.18","url":null,"abstract":"The paper examines the creative segment of digital art, which has been carried out by professional graphic artists in the independent Republic of Moldova, including finished artworks produced in big and small print runs, and also unique graphic works. Sketches and technical drawings of any kind are excluded from the study. Important data is provided about different images (chiesel works, book illustrations, caricatures, postage stamps, ex-librises), which were rendered digitally both in full and in part. Also, concise information is offered on the professionals practicing the respective type of digital art over the years. There is also contoured the process of nationwide spread of the digital images and the specifity of the digital creative tool. The author also examines the professional attitude towards digital art in the Republic of Moldova in terms of the relationship between mass production, traditional handmade art and digital execution technique. The reasons and conditions for the dissemination of digital images in national art are specified. The dynamics of opinions on the role of the computer in the creation and modification of graphic works at different stages of the evolution of digital and traditional technology in the Republic of Moldova is traced.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44188699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.02
Oльга Пламеницкая
The article examines 11 stages of the formation of the defensive system of the Kamenets-Podilsky fortress from the point of view of stage transformations (II - XVIII centuries). The main factor that initially influenced the formation of the concept of urban defense was the topography of the area. The old island town, surrounded by the canyon of the Smotrych River, had a natural protective potential from the very beginning, which was fully used throughout the Middle Ages. Subsequent reconstructions were supposed to strengthen the defensive parameters of the area. However, with the advent of long-range artillery, the former defensive advantages of the island led to the degradation of the fortress. The city on the island, surrounded by a river canyon, became a convenient target for enemy artillery stationed on the opposite high bank. All the disadvantages of this situation appeared at the end of the 17th century, when the city was captured by the Ottoman army after a short siege. In the XIX century, military engineers proposed to create a system of powerful forts on the opposite bank of the river, but the lack of financial resources did not allow this idea to be realized. As a result, the fortified city remained an archaic medieval complex, unsuitable for other military functions
{"title":"The formation of the cultural landscape of Kamianets-Podilsky fortress stage transformations of the fortress in terms of improving the means of warfare)","authors":"Oльга Пламеницкая","doi":"10.52603/arta.2021.30-1.02","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.02","url":null,"abstract":"The article examines 11 stages of the formation of the defensive system of the Kamenets-Podilsky fortress from the point of view of stage transformations (II - XVIII centuries). The main factor that initially influenced the formation of the concept of urban defense was the topography of the area. The old island town, surrounded by the canyon of the Smotrych River, had a natural protective potential from the very beginning, which was fully used throughout the Middle Ages. Subsequent reconstructions were supposed to strengthen the defensive parameters of the area. However, with the advent of long-range artillery, the former defensive advantages of the island led to the degradation of the fortress. The city on the island, surrounded by a river canyon, became a convenient target for enemy artillery stationed on the opposite high bank. All the disadvantages of this situation appeared at the end of the 17th century, when the city was captured by the Ottoman army after a short siege. In the XIX century, military engineers proposed to create a system of powerful forts on the opposite bank of the river, but the lack of financial resources did not allow this idea to be realized. As a result, the fortified city remained an archaic medieval complex, unsuitable for other military functions","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43655936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.11
Alina Ostapov, Irina Studzinski
The first years after the Second World War are characterized by the reconstruction of the cities of the Moldovan Soviet Socialist Republic (MSSR). The development of post-war architecture was dependent on political authorities. The regulations in the field led to special urban transformations. The Soviet urban image is a recognizable one, especially in the development of the main arteries, defined by spatial and volumetric greatness. Another impressive thing is the architecture of Stephen the Great boulevard, whose aesthetics promotes Soviet ideology. It had particular regulations regarding the alignment of the buildings, their height, their proportions, the aesthetics of the facades facing the boulevard, the relationship with the neighboring buildings and others, forming a coherent configuration. The established rules ordered the street front; the buildings often formed “parade courts”, increasing the visibility of the massive facades, called “parade facades”, which became recognizable by decorative exuberance. This article aims at observing the development of the constructions on a certain segment of the main artery of the capital of MSSR - one of the priority preoccupations of the authorities in the given period.
{"title":"Architectural dominants of the city of Chisinau built in the first years after the Second World War","authors":"Alina Ostapov, Irina Studzinski","doi":"10.52603/arta.2021.30-1.11","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.11","url":null,"abstract":"The first years after the Second World War are characterized by the reconstruction of the cities of the Moldovan Soviet Socialist Republic (MSSR). The development of post-war architecture was dependent on political authorities. The regulations in the field led to special urban transformations. The Soviet urban image is a recognizable one, especially in the development of the main arteries, defined by spatial and volumetric greatness. Another impressive thing is the architecture of Stephen the Great boulevard, whose aesthetics promotes Soviet ideology. It had particular regulations regarding the alignment of the buildings, their height, their proportions, the aesthetics of the facades facing the boulevard, the relationship with the neighboring buildings and others, forming a coherent configuration. The established rules ordered the street front; the buildings often formed “parade courts”, increasing the visibility of the massive facades, called “parade facades”, which became recognizable by decorative exuberance. This article aims at observing the development of the constructions on a certain segment of the main artery of the capital of MSSR - one of the priority preoccupations of the authorities in the given period.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42678615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.17
A. Trifan
The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin” Auditorium), the refurbished buildings („Patria” Cinema and the Organ Hall) and adaptations to new programs such as soviet cinemas are highlighted. Thorough research of the history of construction and reconstruction of the two most famous buildings for shows, which were the headquarters of the Romanian National Theater in Chisinau, contributes to the identification of valid novelties in the correct and coherent dating and interpretation, as well as the names of the authors of the projects. Programs based on appreciating the value of the cultural heritage of the Soviet period are submitted to the attention of the professional environment, the interested public and the administrators of the built heritage and represent an attempt to raise awareness of the importance of re-evaluating this heritage.
{"title":"Integrative reflections in the contemporary approach of the architecture of buildings for shows","authors":"A. Trifan","doi":"10.52603/arta.2021.30-1.17","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.17","url":null,"abstract":"The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin” Auditorium), the refurbished buildings („Patria” Cinema and the Organ Hall) and adaptations to new programs such as soviet cinemas are highlighted. Thorough research of the history of construction and reconstruction of the two most famous buildings for shows, which were the headquarters of the Romanian National Theater in Chisinau, contributes to the identification of valid novelties in the correct and coherent dating and interpretation, as well as the names of the authors of the projects. Programs based on appreciating the value of the cultural heritage of the Soviet period are submitted to the attention of the professional environment, the interested public and the administrators of the built heritage and represent an attempt to raise awareness of the importance of re-evaluating this heritage.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44057611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.21
Dmitri Sibaev
Alexei Colîbneac is one of the notorious graphic designers of the national art. Many distinctions and the presence of works in important public collections are proof of the artist’s mastery and of the intellectual message of his artistic discourse. In his imposing creation, we notice numerous series of drawings; one of them being the series of self-portraits, which was not exploited in theoretical studies. Researching the history of value appreciation of the artist’s creation, we found an impressive number of periodicals and publications, but too few scientific. In the series of self-portraits, on which the artist worked at different stages of his life, we see the author in a wide variety of states of mind and spirit. Based on these works, we trace the formation of the artist’s personality: from adolescence, youth, to maturity, in which A. Colîbneac fully demonstrates the ability to ask complex questions of an existential nature or to show slight self-irony, drawing some compositions as if joking. The drawings are made in various techniques of graphics, also the artist uses different languages for dealing with form and space, in some works strictly linear, in others using chiaroscuro. When the observer and the subject are the same person, the spectator witnesses an intimate monologue that constitutes an act of self-knowledge through plastic language.
Alexei colbneac是民族艺术中臭名昭著的平面设计师之一。许多杰出的作品和在重要公共收藏中的存在证明了艺术家的精通和他的艺术话语的知识信息。在他气势恢宏的创作中，我们看到了许多系列的绘画;其中一个是自画像系列，这在理论研究中没有被利用。研究艺术家创作价值升值的历史，我们发现大量的期刊和出版物，但科学的太少。在这一系列的自画像中，我们看到了艺术家在他生命的不同阶段所创作的作品，作者的思想和精神状态各不相同。通过这些作品，我们追溯了艺术家性格的形成:从青春期，青年期，到成熟期，在这段时间里，A. col bneac充分展示了提出存在性复杂问题的能力，或者表现出轻微的自我讽刺，画了一些像开玩笑一样的作品。这些绘画采用了不同的图形技术，艺术家也使用不同的语言来处理形式和空间，在一些作品中使用严格的线性，在另一些作品中使用明暗对比。当观察者和主体是同一个人时，观众见证了一场亲密的独白，这种独白通过塑性语言构成了一种自我认识的行为。
{"title":"Alexei Colîbneac’s series of self-portraits","authors":"Dmitri Sibaev","doi":"10.52603/arta.2021.30-1.21","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.21","url":null,"abstract":"Alexei Colîbneac is one of the notorious graphic designers of the national art. Many distinctions and the presence of works in important public collections are proof of the artist’s mastery and of the intellectual message of his artistic discourse. In his imposing creation, we notice numerous series of drawings; one of them being the series of self-portraits, which was not exploited in theoretical studies. Researching the history of value appreciation of the artist’s creation, we found an impressive number of periodicals and publications, but too few scientific. In the series of self-portraits, on which the artist worked at different stages of his life, we see the author in a wide variety of states of mind and spirit. Based on these works, we trace the formation of the artist’s personality: from adolescence, youth, to maturity, in which A. Colîbneac fully demonstrates the ability to ask complex questions of an existential nature or to show slight self-irony, drawing some compositions as if joking. The drawings are made in various techniques of graphics, also the artist uses different languages for dealing with form and space, in some works strictly linear, in others using chiaroscuro. When the observer and the subject are the same person, the spectator witnesses an intimate monologue that constitutes an act of self-knowledge through plastic language.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43506680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.10
Ильвицкая Светлана, Анна Поян
One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.
{"title":"The cultural heritage of Chisinau in 1930–1950","authors":"Ильвицкая Светлана, Анна Поян","doi":"10.52603/arta.2021.30-1.10","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.10","url":null,"abstract":"One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41748479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.03
Tudor Stăvilă
The themes and subjects approached by the plastic artists, in a certain period of time, in a certain geographical space, including the names of the works, indirectly reflect the existing tendencies in the respective epoch. These moments are indisputable, regardless of the evolutions of art in various cultural environments, in the centers of international art or on its peripheries, objectively reflecting the styles and priorities of the time. Thus, realism operates with certain terms that define the options of the current, different from those of impressionism, expressionism, etc. The Bessarabian visual arts are no exception in this case. More refractory and more specific, the evolution of local culture was due to the historical situation of the land, ruled by the Tsarist Empire for a century, with the late emergence of professional art and the direct influences of Russian and Ukrainian itinerants’ realism characterized by special themes. But these trends were also marked by the emergence of non-conformist representatives of Russian art, such as Vladimir Falileev, Alexander Shevchenko, Nathan Altman, participants in Bessarabian salons in the early twentieth century. More eloquently, these renewals of local art occur after the internship of Eugenia Maleshevsci in Europe, the sporadic return to the homeland of Pavel Shilingovschi, but also the appearance in Bessarabia of a true representative of the new currents, such as Auguste Baillayre.
{"title":"The themes of works of Bessarabian painters between 1888-1917","authors":"Tudor Stăvilă","doi":"10.52603/arta.2021.30-1.03","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.03","url":null,"abstract":"The themes and subjects approached by the plastic artists, in a certain period of time, in a certain geographical space, including the names of the works, indirectly reflect the existing tendencies in the respective epoch. These moments are indisputable, regardless of the evolutions of art in various cultural environments, in the centers of international art or on its peripheries, objectively reflecting the styles and priorities of the time. Thus, realism operates with certain terms that define the options of the current, different from those of impressionism, expressionism, etc. The Bessarabian visual arts are no exception in this case. More refractory and more specific, the evolution of local culture was due to the historical situation of the land, ruled by the Tsarist Empire for a century, with the late emergence of professional art and the direct influences of Russian and Ukrainian itinerants’ realism characterized by special themes. But these trends were also marked by the emergence of non-conformist representatives of Russian art, such as Vladimir Falileev, Alexander Shevchenko, Nathan Altman, participants in Bessarabian salons in the early twentieth century. More eloquently, these renewals of local art occur after the internship of Eugenia Maleshevsci in Europe, the sporadic return to the homeland of Pavel Shilingovschi, but also the appearance in Bessarabia of a true representative of the new currents, such as Auguste Baillayre.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.20
Т. Нестерова, Андрей Герцен
The article provides a comprehensive architectural and historical-geographical analysis of a unique monument of medieval religious-defensive architecture – the Church of the Assumption of the Virgin in Vasilcau village, located on the banks of the Dniester River, near the state border of the Republic of Moldova and the Ukraine. Vasilcau was the border point between the Principality of Moldavia and the Grand Duchy of Lithuania in the Middle Ages. Its geographical position led to the formation of a fortified border point here, which served as an eastern outpost of the Soroca tsinut (county). The elevated cape with steep slopes, on which a temple with a bell tower, a courtyard, a trading square, as well as an ancient trade road and a river crossing was built, is a vivid example of a natural, historical-cultural complex, the basis of which is a medieval fortified point with a unique cult-defensive monument of architecture. The church represents a widespread type of place of worship, whose architecture combines the planimetric features of wooden architecture with those used in medieval buildings built of stone, highlighted in the found proportions. The solution of the historical-geographical enigmas that envelop the history of the heritage monument in the absence of written sources is carried out on the basis of a complex poly-scale historical and cartographic analysis and the use of modern geoinformation methods.
{"title":"Architectural and Historic-Geographical Mystery of the Church of Vasilcau Village","authors":"Т. Нестерова, Андрей Герцен","doi":"10.52603/arta.2021.30-1.20","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.20","url":null,"abstract":"The article provides a comprehensive architectural and historical-geographical analysis of a unique monument of medieval religious-defensive architecture – the Church of the Assumption of the Virgin in Vasilcau village, located on the banks of the Dniester River, near the state border of the Republic of Moldova and the Ukraine. Vasilcau was the border point between the Principality of Moldavia and the Grand Duchy of Lithuania in the Middle Ages. Its geographical position led to the formation of a fortified border point here, which served as an eastern outpost of the Soroca tsinut (county). The elevated cape with steep slopes, on which a temple with a bell tower, a courtyard, a trading square, as well as an ancient trade road and a river crossing was built, is a vivid example of a natural, historical-cultural complex, the basis of which is a medieval fortified point with a unique cult-defensive monument of architecture. The church represents a widespread type of place of worship, whose architecture combines the planimetric features of wooden architecture with those used in medieval buildings built of stone, highlighted in the found proportions. The solution of the historical-geographical enigmas that envelop the history of the heritage monument in the absence of written sources is carried out on the basis of a complex poly-scale historical and cartographic analysis and the use of modern geoinformation methods.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46715958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.52603/arta.2021.30-1.05
Sergius Ciocanu
The documents attest the presence of an Armenian community in Chisinau since the ‘30s of the 18th century. In the 18th century, the Chisinau Armenians had a place of worship, located on the site of the present Armenian Church, in the “heart” of the city, on the first street parallel to the north-east side of the market square. In 1774, among the Chisinau Armenians, the priest Musuz was mentioned, who served in the Armenian Church. The temple was badly damaged by the fire that engulfed Chisinau during the military operations of 1788. The earthquake destroyed this place of worship on October 14, 1802. In 1803-1804, it was rebuilt in the same place. The construction manager and, possibly, the architect of the holy place, was master Vardan from Iaşi. According to the statistical documents of 1809, three priests and four deacons served in the Armenian church. The cemetery of Armenian community was located near the old Orthodox cemetery of the Mazarache church. However, some more important burials were also done in the churchyard of the Armenian church. During the XIX-XX centuries, the church underwent many alterations and renovations, which changed its appearance. In 1993, by the decision of the Parliament of the Republic of Moldova, this valuable building of Chisinau was given the status of historic monument.
{"title":"Armenian Church of the Holy Mother of God in Chisinau","authors":"Sergius Ciocanu","doi":"10.52603/arta.2021.30-1.05","DOIUrl":"https://doi.org/10.52603/arta.2021.30-1.05","url":null,"abstract":"The documents attest the presence of an Armenian community in Chisinau since the ‘30s of the 18th century. In the 18th century, the Chisinau Armenians had a place of worship, located on the site of the present Armenian Church, in the “heart” of the city, on the first street parallel to the north-east side of the market square. In 1774, among the Chisinau Armenians, the priest Musuz was mentioned, who served in the Armenian Church. The temple was badly damaged by the fire that engulfed Chisinau during the military operations of 1788. The earthquake destroyed this place of worship on October 14, 1802. In 1803-1804, it was rebuilt in the same place. The construction manager and, possibly, the architect of the holy place, was master Vardan from Iaşi. According to the statistical documents of 1809, three priests and four deacons served in the Armenian church. The cemetery of Armenian community was located near the old Orthodox cemetery of the Mazarache church. However, some more important burials were also done in the churchyard of the Armenian church. During the XIX-XX centuries, the church underwent many alterations and renovations, which changed its appearance. In 1993, by the decision of the Parliament of the Republic of Moldova, this valuable building of Chisinau was given the status of historic monument.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45402599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：