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The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (and Russian, despite his name). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881. After assuming power in 1855 in the wake of Russia’s disastrous defeat in the Crimean war against Britain, France and Turkey, Alexander II initiated a number of reforms. In 1861 he freed the Russian serfs (peasants, who were almost enslaved to their owners) from their ties to their masters and undertook a rigorous program of military, judicial and urban reforms, never before attempted in Russia. However, during the second half of his reign Alexander II grew wary of the dangers of his system of reforms, having only barely survived a series of attempts on his life, including an explosion in the Winter Palace and the derailment of a train. Alexander II was finally assassinated in 1881 by a group of revolutionaries, who threw a bomb at his royal carriage.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
Il Museo statale di storia è un museo di Mosca, collocato tra la Piazza Rossa e la piazza del Maneggio.
L'edificio fu costruito secondo i canoni dello stile neorusso tra il 1875 ed il 1881 e inaugurato ufficialmente dallo Zar Alessandro III. L'interno venne decorato secondo i canoni del neoromanticismo russo da vari artisti tra cui spiccano Víktor Vasnetsov, Henryk Siemiradzki e Ivan Aivazovski. Durante il periodo sovietico, le pitture murali furono dichiarate di cattivo gusto e ricoperte da uno strato d'intonaco. Il museo venne restaurato tra il 1986 e il 1997 per ritrovare il suo aspetto iniziale.
La porta della Resurrezione tra il museo ed il vecchio municipio segna l'entrata alla Piazza Rossa. Fu distrutta sotto Stalin, per permettere l'organizzazione di sfilate e parate, e venne ricostruita negli anni '90. Una statua equestre del maresciallo Zúkov si trova di fronte al museo, nella piazza del Maneggio.
Rurik and his brothers Truvor and Sineus arrive in Ladoga, as depicted by Apollinary Vasnetsov (1856-1933). I didn't put any extra info links in this post since I already have tons of other posts relevant to this.
Even though some historians emphasize folklore roots for the Rurik legend and consequently dismiss Rurik as a legendary figure, there is a controversy about his ethnic origins in Eastern Europe. According to the Primary Chronicle Rurik was one of the Rus, a Varangian tribe likened by the chronicler to Danes, Swedes, Angles, and Gotlanders. In the 20th century, archaeologists partly corroborated the chronicle's version of events. It was discovered that the settlement of Ladoga, whose foundation has been ascribed to Rurik, was actually established in the mid-8th century. Earthenware, household utensils, and types of buildings from the period of Rurik's foundation correspond to patterns then prevalent in Jutland. Some Slavic historians...argue that the account of Rurik's invitation was borrowed by a pro-Scandinavian chronicler from a hypothetical Norse document. For instance, the Primary Chronicle states that Rurik arrived to Slavic lands with two brothers, Sineus and Truvor, and sent them to rule the towns of Beloozero and Izborsk, respectively. Instead of connecting Sineus to Signjotr and Truvor to Torvald, they suggest that the chronicler read a hypothetical Scandinavian document and misinterpreted the Norse words 'sine hus' (with house) and 'tru voring' (with loyal guard) as the names of Rurik's brothers: Sineus and Truvor.
Designed by Alfred Parland, the cathedral was built between 1883 and 1903, on the site where Emperor Alexander II was assassinated by terrorist I. Grinevitskij on 1 March 1881. Notice the carpet-like mosaic decoration of the walls and vault designed by Victor Vasnetsov, Mikhail Nesterov, Andrei Riabushkin and others.
Inside The Church of Our Savior on the Spilled Blood, St. Petersburg, Russia.
This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881. After assuming power in 1855 in the wake of Russia’s disastrous defeat in the Crimean war against Britain, France and Turkey, Alexander II initiated a number of reforms. In 1861 he freed the Russian serfs (peasants, who were almost enslaved to their owners) from their ties to their masters and undertook a rigorous program of military, judicial and urban reforms, never before attempted in Russia. However, during the second half of his reign Alexander II grew wary of the dangers of his system of reforms, having only barely survived a series of attempts on his life, including an explosion in the Winter Palace and the derailment of a train. Alexander II was finally assassinated in 1881 by a group of revolutionaries, who threw a bomb at his royal carriage.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
Спас на крови
Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (and Russian, despite his name). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
The image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. (en.wikipedia.org)
The Alkonost and the Gamayun are mythological creatures with the body of a bird and the head of a beautiful woman. They derive from Slavic and Old Russian folklore, and are described as mythical beings that have the ability to mesmerize humans with their enchanting voices.
References and depictions of Alkonost and Gamayun can be found in Russian chronicles, on 13 th century cathedral monuments, and on jewels from the era of Kiev Russia. The Alkonos is typically described as a creature of the dawn while the Gamayun is related with the heavens.
folklorehttp://www.ancient-origins.net/myths-legends/alkonost-and-gamayun-mythical-beings-slavic-folklore-004076
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The painting depicts the only future ahead for the knight. He seems resigned to this future, and in a moment of contemplation. The wonderful painting by Victor Vasnetsov was seen at the Russian Museum .