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Torre de San Nicolás (Nikólskaya) Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
Россия - удивительная страна. Часто, проезжая какую-то глушь, можно встретить заброшенные архитектурные шедевры.
Так, возвращаюсь в Москву от родственников, на границе тульской и липецкой областей, мне попался очередной храм, пришедший в упадок. Храм построен по одним сведениям в 1891, по другим в 1897 году. Архитектор - Николай Леонтьевич Бенуа, отец известного художника. Храм расписан известным русским художником Виктором Михайловичес Васнецовым. Храм построен в неорусском стиле. С победой коммунистов, храм не избежал ужасной участи. В 1922 году из церкви изъяли всю утварь, а в 1933 храм закрыли.Во время войны в здании размещался госпиталь. Долгое время храм использовали как сельское овощехранилище и место для заготовки металлолома. В 60-х годах было решено церковь «реставрировать под клуб». Именно в эти годы были разрушены колокольни, сбита мозаика и разграблен мраморный иконостас. Сейчас, очень медленными темпами храм восстанавливается. Внутрь залезть не удалось, всё закрыто.
Фотография сделана на Canon EOS 5. Пленка - Тасма Т-25 (ISO 125)
Russia is an amazing country. Often, driving through some wilderness, you can find abandoned architectural masterpieces.
So, returning to Moscow from relatives, on the border of the Tula and Lipetsk regions, I came across another temple that has fallen into disrepair. The Church was built according to some sources in 1891, according to others in 1897. The architect is Nikolai Leontievich Benois, the father of the famous painter. The temple was painted by the famous Russian painter Viktor Mikhailovich Vasnetsov. The Church is built in the neo-Russian style. With the victory of the reds, the temple didn`t escape a terrible fate. In 1922, all the utensils were removed from the Church, and then in 1933 the Church was closed.During the war, the building housed a hospital. For a long time, the temple was used as a rural vegetable storage and a place for metal scrap. In the 60s, it was decided to "restore the Church as a club". During these years bell towers were destroyed, the mosaics were knocked down, and the marble iconostasis was looted. Now, the temple is being restored. I couldn't get inside, everything is closed.
The photo was taken on a Canon EOS 5. Film-Tasma T-25 (ISO 125)
Torre de San Nicolás (Nikólskaya) Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The Church of the Resurrection, also known as the "Savior on Spilled Blood", was built in memory of Alexander II who was assassinated in 1881. The church stands in the very place where a bomb was thrown into his carriage by a young man who opposed the Tsar's reforms.
The Cathedral is decorated with Italian limestone and various semiprecious stones like jasper, mountain crystal, topaz, and others. On the outside, there are twenty granite plates which tell the most important events of Alexander II's reign.
The highlight of both the interior and exterior of the Cathedral are its mosaic collection based on the paintings of Vasnetsov, Nesterol, and Vrubel. With a total area of 23130 square feet, it is one of the largest mosaic collections in Europe.
Torre de San Nicolás (Nikólskaya) Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
Torre de San Nicolás (Nikólskaya)
Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
On August 20, 1896, the cathedral was consecrated to St Volodymyr in the presence of Nicholas II and Alexandra Feodorovna.
It is the cathedral's colourful interior that particularly strikes the eye. Mosaics were created by masters from Venice. Frescoes were the work of three outstanding Russian painters of the day: Viktor Vasnetsov, Mikhail Vrubel, and Mikhail Nesterov. Iconostasis is carved from the white marble brought from Carrara.
The construction and interior deco took more than 30 years (1862-96) to complete. (BestofUkraine.com)
Torre de San Nicolás (Nikólskaya)
Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
In 1852, Metropolitan Philaret of Moscow suggested a large cathedral should be built in Kiev to commemorate the 900th anniversary of the baptism of Kievan Rus' by prince Vladimir I of Kiev (St. Volodymyr). People from all over the Russian Empire started donating to this cause, so that by 1859 the cathedral fund had amassed a huge sum of 100,000 rubles. The Kiev Pechersk Lavra (Monastery of the Caves) produced one million bricks and presented them to the cathedral as well. The design was executed in neo-Byzantine style initially by the architects I. Schtrom, P. Sparro, R. Bemhardt, K. Mayevsky, V. Nikolayev. The final version of the design belongs to Alexander Vikentievich Beretti. It is a traditional six-piered, three-apsed temple crowned by seven cupolas. The height to the cross of the main dome is 49 m (161 ft).
Interior view of the cathedral
The colourful interior of the cathedral is particularly striking. Its mosaics were executed by masters from Venice. The frescoes were created under the guidance of Professor Adrian Prakhov by a group of famous painters: Wilhelm Kotarbiński, Mikhail Nesterov, Mykola Pymonenko, Pavel Svedomsky, Viktor Vasnetsov, Mikhail Vrubel, Viktor Zamyraylo (1868-1939), and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty.[citation needed]
The entrance door is adorned with relief bronze sculptures of St. Olga (Princess Olga of Kiev) by sculptor Robert Bakh and St. Vladimir (sculptor H. Zaieman) against a blue background. The iconostasis is carved from the white marble brought from Carrara. The cathedral was completed in 1882, however, the paintings were fully completed only in 1896.[1]
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
Torre de San Nicolás (Nikólskaya) Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
АЛЕКСЕЙ ИСУПОВ - Зимнее солнце
Location: Museum of Russian Impressionism, Moscow, Russia.
Source: www.rusimp.su/en/collection/object/78
National originality, the texture of his painting, and their striking colour contrasts distinguished the landscapes of Alexei Isupov . The artist often painted countryside scenes, village life, and horses - “Winter Sun” is just such a work. Look closely at the bright sun, the soft snow with the tracks which the sleigh is making in it, and the dark silhouette of the horse. All of this conveys the sense that spring is in the air. Isupov paints it all effortlessly, with true mastery.
Konstantin Korovin and Viktor Vasnetsov were among his teachers, and one of his classmates at the Moscow School of Art, Sculpture and Architecture, Vasily Meshkov, said admiringly: “I can say that I was born with a brush in my hand, but when I looked at the work of Alexei Isupov, I always thought with some kind of 'good' envy: no, he's in another league from us. As for myself, for example, I don’t feel I will ever be able to paint so well.”
The Italian press called Isupov the “carefree master”. Because of the artist’s problems with his health, he moved with his whole family to Rome, and lived there for some 30 years, until his death.
“Alexei Isupov’s creativity – it is a display of the art of painting which knows all the joy and power of colour.” The Italian artist Mikele Biankale, himself no less talented a master, would say about Isupov’s works.
Isupov left behind a rich legacy of his art and made a clause in his will that his wife should return the works of his Italian period to Russia after his death. She duly did so.
Rus: Национальная самобытность, фактурная живопись, звонкие цветовые контрасты – вот что отличает пейзажи Алексея Исупова. Художник не раз писал сцены сельской жизни, деревенские виды, лошадей. Картина «Зимнее солнце» – одна из таких. Присмотритесь к этому яркому солнцу, мягкому снегу со следами от полозьев саней, темному силуэту лошади. Все это залито воздухом и передает ощущение приближающейся весны. Художник любуется русской природой. Пейзаж написан легко, мастерски.
Среди учителей Исупова были Константин Коровин и Виктор Васнецов. А однокашник художника по Московскому училищу живописи, ваяния и зодчества Василий Мешков восхищался: «Вот я, можно сказать, на палитре родился, а всегда, глядя на работы Алексея Исупова, с какой-то хорошей завистью думал: нет, куда нам всем до него . Я, например, чувствовал, что не могу так».
«Беззаботный маэстро» – называла Исупова итальянская пресса. По состоянию здоровья художник выехал всей семьей в Рим. В Вечном городе он прожил 30 лет. По памяти писал русские пейзажи.
«Творчество Алессио Исупова – это искусство живописца, который знает всю радость и мощь цвета», – говорил о работах художника не менее талантливый мастер кисти итальянец Микеле Бианкале.
Исупов оставил богатое художественное наследие, а своей жене завещал вернуть на родину произведения его итальянского периода. Воля была исполнена.
Saint Petersburg, Russia
Church of Our Savior on the spilled Blood
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.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Torre de San Nicolás (Nikólskaya)
Al mismo tiempo que la torre del Salvador, en la parte norte de la Plaza Roja, se construyó en 1491 la torre de San Nicolás. Su nombre lo tomó del icono de San Nicolás, que había sido colocado sobre la puerta de entrada, y de la calle Nikólskaya, que desde la torre se extiende hacia el norte. En el antaño, allí estuvo el monasterio de San Nicolás, que en los siglos XIV—XVI desempeñó un destacado papel en los asuntos de la alta jerarquía eclesiástica de Rusia.
La ornamentación arquitectónica de las fachadas en estilo gótico, encaje de piedra blanca, y las cuatro altas torrecillas que flanquean la planta cuadrada inferior constituyen la peculiaridad que distingue a la torre de San Nicolás de las demás torres del Kremlin. La torre mide 67,1 metros de altura hasta la estrella; y con la estrella, 70,4 metros en total.
es.wikipedia.org/wiki/Muralla_y_torres_del_Kremlin_de_Moscú
The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
en.wikipedia.org/wiki/List_of_Moscow_Kremlin_towers
El Museo Estatal de Historia de Rusia (en ruso: Государственный Исторический музей)? está localizado entre la Plaza Roja y la Plaza del Manège en Moscú. Su catálogo recoge desde reliquias de tribus prehistóricas que ocupaban el territorio de la actual Rusia, hasta obras de arte de valor incalculable adquiridas por miembros de la dinastía Románov. El número total de objetos en la colección del museo es del orden de millones.
El lugar donde actualmente se yergue el museo fue anteriormente ocupado por la Principal Tienda de Medicina, construida según órdenes de Pedro el Grande en estilo barroco moscovita. Muchas de sus salas albergaron colecciones reales de antigüedades, otras fueron ocupadas por la Universidad Estatal de Moscú fundada por Mijaíl Lomonósov en 1755.
El museo fue fundado en 1872 por Iván Zabelin, Alekséi Uvárov y muchos otros eslavófilos interesados en la promoción de la historia rusa y de la conciencia nacionalista. El consejo del museo formado por Serguéi Soloviov, Vasili Kliuchevski, Uvárov y otras destacados historiadores presidió la construcción del inmueble. Después de una prolongada competición el proyecto ganador fue el de Vladímir Ósipovich Shervud (o Sherwood, 1833-1897).
El edificio fue construido según los cánones del estilo neo-ruso entre 1875 y 1881 e inaugurado oficialmente por el Zar Alejandro III. El interior estaba intrincadamente decorado según el nuevo romanticismo ruso por artistas tales como Víktor Vasnetsov, Henrik Semiradski, e Iván Aivazovsk
es.wikipedia.org/wiki/Museo_Estatal_de_Historia_(Moscú)
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Chiesa della Resurrezione di Cristo (questo e' il suo nome ufficiale) doveva essere un luogo privato di cordoglio per la morte dello zar. Furono i bolscevichi ad aprire al pubblico le elaborate porte di questa chiesa incredibile, ma la struttura non era stata concepita per accogliere migliaia di persone, per cui gli interni cominciarono subito a risentirne.
Negli anni '30, in seguito alla decisione di Stalin di chiudere tutte le chiese, l'edificio venne adibito a magazzino degli articoli piu' svariati, dalle patate alle scenografie teatrali.
Nei primi anni '70, fu finalmente avviato un processo di restauro che pero' procedette a rilento in quanto il clima politico non era ancora sufficientemente aperto verso la religione; non a caso attualmente e' ricordata come la chiesa dei tempi lunghi; basti pensare che ci vollero ventiquattro anni per costruirla e ventisette per ristrutturarla.
Al suo interno ci sono circa 7000 mq. di mosaici di molteplici artisti russi come Vasnetsov, Nesterov, Ryabushkin, Belyaev e Kharlamov.
Watch this video to understand why Putin is preparing from May 2024 to give up on recolonizing Ukraine:
www.youtube.com/live/uf65BuuNwLc?si=O0Yo2FtJXZNb2DQB
Putin Has Lost - Peace In Ukraine Is Coming
INSIDE RUSSIA YouTube channel
Putin's genocidal resurrection of the Russian imperial dream is dying. Here is why:
-Ukraine will never give up
-Russian army and economy are shit
-Europe, the US and allies will not give up
-China is not meaningfully helping Russia militarily or financially
-Trump will not be reelected in November
.
.
For a true lasing peace:
1. Crimea and all Ukrainian territories must be given back.
2. All deported Ukrainian citizens and children must be returned.
3. Putin and all war criminals must end up in The Hague ICC.
4. Russia must pay full reparations to Ukraine.
5. Ukraine in NATO.
6. Transnistria and all other territories [in Georgia and other countries] militarily occurred by Russia must be given back.
7. Imperialism must die in every Russian mind and heart.
8. All Russians must realize that they don't have to be slaves.
Russia will survive beyond the death of its empire, the same way Japan, Germany, France, UK and all other former empires survived the loss of their colonies.
Putin's genocidal resurrection of the Russian imperial dream will not outlast him.
And to all who think this is impossible because Russia has nukes, check your history and see that all nuclear powers lost wars and colonies while having nukes, including the USSR in Afghanistan and the Cold War [nuclear UK lost India, the 1956 Suez crisis and Hong Kong, nuclear France lost in Algeria and Vietnam, nuclear US lost in Cuba, Vietnam and Afghanistan].
.
.
.
music:
www.youtube.com/watch?v=jcNJHOkknEY
Russian chant of the Holy Week.
Title: "Се, Жених грядет в полунощи" (Behold, the Bridegroom cometh at Midnight - Ιδού ο Νυμφίος έρχεται)
Service: Bridegroom Service (Holy and Great Monday - Tuesday - Wednesday)
Performers: Moscow Sretensky Monastery Choir
.
photo:
Церковь Святого Николая (Бухарест)
Biserica Rusă, Biserica studenţilor, Bucuresti
St. Nicholas Russian Church [finished in 1909], Bucharest, Romania
Architect: M. T. Prevbrajenski
Murals: Viktor Vasnetsov
en.wikipedia.org/wiki/Bucharest_Russian_Church
www.monumenteromania.ro/index.php/monumente/detalii/en/Ru...
Viktor Vasnetsov - Ви́ктор Миха́йлович Васнецо́в
en.wikipedia.org/wiki/Viktor_Vasnetsov
M. T. Prevbrajenski - Михаи́л Тимофе́евич Преображе́нский
ru.wikipedia.org/wiki/%D0%9F%D1%80%D0%B5%D0%BE%D0%B1%D1%8...
.
Stand with Ukraine!
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Airbus A320-200 - Aeroflot - Russian Airlines
Named "V. Vasnetsov / В. Васнецов"
Registration VP-BQV
Amsterdam Airport Schiphol (EHAM/AMS)
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood (Russian: Церковь на Крови, Tserkov’ na Krovi) and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova), its official name.
"The preferred Russian name for this great church is Храм Спаса на Крови (Khram Spasa na Krovi), but each English-language tourist publication seems to list it under a different name. The moniker of "Spilled Blood" is most popular in preference to the likes of the Church of the Resurrection, Church of our Savior on the Blood, Cathedral of the Ascension, Resurrection of the Christ, or Assumption, Church of the Redeemer, or any permutation of the above."
This Church was built on the site where Tsar Alexander II was assassinated and was dedicated in his memory.
Construction began in 1883 under Alexander III, as a memorial to his father, Alexander II. Work progressed slowly and was finally completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The Church is prominently situated along the Griboedov Canal. The embankment at that point runs along either side of a canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace where he died a few hours later.
rchitecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
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 (born in St. Petersburg in 1842 in a Baltic-German Lutheran family). 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.
Detail of the richly decorated façade and onion domes
A temporary shrine was erected on the site of the attack while the project for a more permanent memorial was undertaken. It was decided that the section of the street where the assassination had taken place was to be enclosed within the walls of a church. The embankment was therefore extended out into the canal to allow the shrine to fit comfortably within the building and to provide space on the exterior wall for a memorial marking the spot where the assassination took place. Inside, an elaborate shrine was constructed on the exact place of Alexander's death, garnished with topaz, lazurite and other semi-precious stones. Amid such rich decoration, the simple cobblestones on which the tsar's blood was spilled and which are exposed in the floor of the shrine provide a striking contrast.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
I was amazed when I entered the church!! HDR
The Church of the Savior on Spilled Blood (Храм Спаса на Крови ) is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood and the Cathedral of the Resurrection of Christ (Собор Воскресения Христова ), its official name. The name refers to the blood of the assassinated Alexander II of Russia, who was mortally wounded on that site on March 13, 1881.
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.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
The Church of the Savior on Spilled Blood is one of the main sights of Saint Petersburg, Russia.
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
The Cathedral is decorated with Italian limestone and various semiprecious stones like jasper, mountain crystal, topaz, and others. On the outside, there are twenty granite plates which tell the most important events of Alexander II's reign.
The highlight of both the interior and exterior of the Cathedral are its mosaic collection based on the paintings of Vasnetsov, Nesterol, and Vrubel. With a total area of 23130 square feet, it is one of the largest mosaic collections in Europe.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
We went to the exhibition "Illusion" in the Vasnetsovs' Art Museum recently, did not know what the filling is hidden under the intriguing title, and did not expect a dirty trick.
To be honest, I am completely disappointed. Primitively. Bad taste.
But the kids will love it (by virtue of age).
Also, it will be interesting to those who do not want to pay money to the good artist-photographer, and has no sense of taste.
A sort of cheaper analogue of a photos made for a couple of minutes.
For a start: don't say that this exhibition - art. It is banal installation for selfie. No more than that .
In general, since when we started say "art" about mass production of similar photos on the ready background and of questionable quality for Instagram?
The fact that the museum let it's into their rooms - does not mean that it's automatically became known as art.
But the hall full + queue. All want selfie !!! Nothing that everyone will have the same primitive background.
The funniest thing that many people really believe that this - the art and then proudly will praise themselves in social networks: "I was at the exhibition!"
And upload the same pictures.
Unfortunately, this modern "art" - a reflection of the overall culture of the people.
However, my admiration for the organizers - they make a lot of money on the absence of this culture. Bravo!
And generally, in order to understand what is the level of culture in the Kirov, it is enough to visit the Vasnetsovs' Art Museum.
And compare the number of visitors in, for example, in the hall of the Russian art, and in the hall with the project "Illusion".
In the first - there is not anyone, in the second - crowded, people - a huge amount!
Very revealing.
Also, it struck me that the most popular place to take pictures - "the train coming."
I really do not understand what the joke, lying on the floor with ropes and squeak with joy looking at the camera, posing as a future corpse.
Adult women and men lie on the floor! And their children go to them! And children also lie on the floor and absorb the "culture".
And then: Oh, why teens do selfie in real life with the same storyline and, periodically, with a sad final? No wonder, not?
We were there for about 15 minutes.
From that time we spent 10 minutes for paving the way back.
I could not stay there longer.
What conclusion?
Bad taste in value, but the real art - very few people interested.
P.S. With the most pleasure I looked children's creativity on the wall next to the stairs that led to this horror.
The concept of an otherworld in historical Indo-European religion is reconstructed in comparative mythology. Its name is a calque of orbis alius (Latin for "other Earth/world"), a term used by Lucan in his description of the Celtic Otherworld.
Comparable religious, mythological or metaphysical concepts, such as a realm of supernatural beings and a realm of the dead, are found in cultures throughout the world. Spirits are thought to travel between worlds, or layers of existence in such traditions, usually along an axis such as a giant tree, a tent pole, a river, a rope or mountains.
Many Indo-European mythologies show evidence for a belief in some form of "Otherworld" and in many cases such as in Persian, Greek, Germanic,Celtic,Slavic and Indic mythologies a river had to be crossed to allow entrance to it and it is usually an old man that would transport the soul across the waters. In Greek and Indic mythology the waters of this river were thought to wash away sins or memories whereas Celtic and Germanic myths feature wisdom-imparting waters, suggesting that while the memories of the deceased are washed away a drinker of the waters would gain inspiration. The wayfarer will commonly encounter a dog either in the capacity of a guardian of the Otherworld or as the wanderer's guide.[3] Examples of this are the Greek Cerberus, the three-headed hound of Hades, and the Indic सर्वरा "sarvarā, one of the hounds of Yama, whose names may derive from an Indo-European *ḱerberos meaning "spotted".[3] In Indo-European mythologies the Otherworld is depicted in many ways, including peaceful meadows, islands and buildings making it hard to determine how the original Proto-Indo-European Otherworld was viewed. However the ruler of the dead was possibly Yemo, the divine twin of Manu the first man.
The Chinvat Bridge (Avestan Cinvatô Peretûm, "bridge of judgement" or "beam-shaped bridge") or the Bridge of the Requiter in Zoroastrianism is the sifting bridge which separates the world of the living from the world of the dead. All souls must cross the bridge upon death. The bridge is guarded by two four-eyed dogs. A related myth is that of Yama, the Hindu ruler of Hell who watches the gates of Hell with his two four-eyed dogs.
Many Celtic Immrams or "voyage stories" and other medieval texts provide evidence of a Celtic belief in an otherworld. One example which helps the reader understand the Celtic concept of the otherworld is The Voyage of Saint Brendan. Another Classic example of a Celtic "otherworld" is the Voyage of Bran. Because Celtic life largely was based upon nourishment from the sea and around the wet and foggy weather of Northern Europe the otherworld is often portrayed as an island to the west in Celtic oral tradition and even shown on some maps of Ireland during the medieval era. The otherworld in the idea of Celtic people became hard to distinguish and sometimes overlapped with the Christian idea of hell or heaven as this was often an analogy made to the Celtic idea of an otherworld or Scandinavian idea of a world tree. This is likely because of Roman and Scandinavian influences on Celtic cultures. An example of Scandinavian influence is apparent in the Voyage of Saint Brendan from the likeness of Lasconius the serpent to the Scandinavian Midgard Serpent. Red and white are the colors of animals in the Celtic Otherworld, and these colors still animate transcendent religious and political symbols today.
See also: Alfheim, Asgard, Vanaheim, and Norse cosmology
As was the case in the Celtic mythologies, in Germanic myths apples were particularly associated with the Otherworld. In the Scandinavian tradition mythological localities are featured, as in Irish mythology; however, unlike Irish mythology, an attempt was made to map the localities of the Otherworld rather than list locales associated with it.In the Edda many locations are named including the dwellings of the gods such as Odin's hall of Valhalla or Ullr's dwelling of Ydalar ("Yewdale"). The Gylfaginning and the later Norwegian poem the Draumkvaede feature travels into the Otherworld.
The Early Slavs believed in a mythical place where birds flew for the winter and souls went after death; this realm was often identified with paradise and it is called Vyraj. It was also said that spring arrived on Earth from Vyraj.The gates of Vyraj stopped mortals from entering. They were guarded by Veles, who sometimes took the animal form of a raróg, grasping in its claws the keys to the otherworlds. Vyraj was sometimes also connected to the deity known as Rod - it was apparently located far beyond the sea, at the end of the Milky Way.It was usually imagined as a garden, located in the crown of the cosmic tree. Whereas the branches were said to be nested by the birds, who were usually identified as human souls. When the Slavic populations were gradually turning to Christianity (e.g. during the Christianization of Kievan Rus' and the Baptism of Poland), a new version of this belief became widespread in which there were two of these realms - one analogous to the original myth, a heavenly place where birds departed, and the other an underworld for snakes and zmeys, often associated with the Christian idea of hell. This second variant bears many similarities to Nav, another representation of the Slavonic underworld. See also: Mount Olympus, Greek Underworld, Hades, and Fortunate Isles In Greco-Roman mythology the Gods were said to dwell on Mount Olympus whereas the dead usually went to the Underworld or Fortunate Isles after death
en.wikipedia.org/wiki/Otherworld
The world to come, age to come, or heaven on Earth are eschatological phrases reflecting the belief that the current world or current age is flawed or cursed[citation needed] and will be replaced in the future by a better world, age, or paradise. The concept is related to but differs from the concepts of heaven, the afterlife, and the Kingdom of God in that heaven is another place or state generally seen as above the world, the afterlife is generally an individual's life after death, and the Kingdom of God could be in the present (such as Realized eschatology) or the future. In Hindu eschatology the current age is the Kali Yuga, a period of decline. Kalki ('Destroyer of Filth') will appear to purge all evil, beginning a golden age of Satya Yuga. There have been a range of dates predicted, purportedly from different methods of calculation.Sri Potuluri Virabrahmendra Swami, for example, wrote 400 years ago in his Divya Maha Kala Gnana, or 'Divine Knowledge of the Time,' that Kalki would arrive when the moon, sun, Venus and Jupiter entered the same sign. This is not a rare occurrence and last happened in early 2012, passing without event.The time of arrival of Kalki has not been consistently asserted by astrologers. Resurrection of the dead, fresco from the Dura-Europos synagogue HaOlam HaBa, or "the world to come", is an important part of Jewish eschatology, although Judaism concentrates on the importance of HaOlam HaZeh ("this world"). The afterlife is known as Olam haBa, Gan Eden (the Heavenly Garden of Eden) and Gehinom. According to the Talmud, any non-Jew who lives according to the Seven Laws of Noah is regarded as a Ger toshav (righteous gentile), and is assured of a place in the world to come, the final reward of the righteous.
Four Horsemen of the Apocalypse, an 1887 painting by Victor Vasnetsov. The Lamb of God is visible at the top.
Main article: Christian eschatology Under Christian eschatology, the phrase is found in the Nicene Creed (current Ecumenical version): "We look for the resurrection of the dead, and the life of the world to come." It is also found in the King James Version of the New Testament at Matthew 12:32, Mark 10:30, Luke 18:30, Hebrews 2:5, Hebrews 6:5. Other related expressions are "age to come" which is typically found in more recent translations, Kingdom of God, Messianic Age, Millennial Age, The New Earth and New Jerusalem, and dispensation of the fulness of times and possibly also eternal life. There have been a number of unsuccessful predictions (a partial list of unsuccessful predictions can be found at Predictions and claims for the Second Coming of Christ) of the date of the Christian End Times, despite Jesus' admonition at the end of the Olivet Discourse that only God the Father knows when the end times will begin (Mark 13:32–37).
In Zoroastrian eschatology, the world to come is the frashokereti, where the saoshyant will bring about a resurrection of the dead in the bodies they had before they died. This is followed by a last judgment. The yazatas Airyaman and Atar will melt the metal in the hills and mountains, and the molten metal will then flow across the earth like a river. All humankind—both the living and the resurrected dead—will be required to wade through that river, but for the righteous (ashavan) it will seem to be a river of warm milk, while the wicked will be burned. The river will then flow down to hell, where it will annihilate Angra Mainyu and the last vestiges of wickedness in the universe.
The New Testament frequently cites Jewish scripture to support the claim of the Early Christians that Jesus of Nazareth is the Messiah, and faith in Jesus as the Christos and his imminent expected Second Coming. The majority of these quotations and references are taken from the Book of Isaiah, but they range over the entire corpus of Jewish writings. People of the Jewish faith do not regard any of these as having been fulfilled by Jesus, and in some cases do not regard them as messianic prophecies at all. These either were not prophecies (the verses make no claim of predicting anything) or the verses do not explicitly refer to the Messiah.In Abrahamic religions, the Messianic Age is the future period of time on earth in which the messiah will reign and bring universal peace and brotherhood, without any evil. Many believe that there will be such an age; some refer to it as the consummate "kingdom of God" or the "world to come".
Apocalyptic literature is a genre of prophetical writing that developed in post-Exilic Jewish culture and was popular among millennialist early Christians. "Apocalypse" (ἀποκάλυψις) is a Greek word meaning "revelation", "an unveiling or unfolding of things not previously known and which could not be known apart from the unveiling". As a genre, apocalyptic literature details the authors' visions of the end times as revealed by an angel or other heavenly messenger. The apocalyptic literature of Judaism and Christianity embraces a considerable period, from the centuries following the Babylonian exile down to the close of the Middle Ages.Apocalyptic elements can be detected in the prophetical books of Joel and Zechariah, while Isaiah chapters 24–27 and 33 present well-developed apocalypses. The Book of Daniel offers a fully matured and classic example of this genre of literature.
The non-fulfillment of prophecies served to popularize the methods of apocalyptic in comparison with the non-fulfillment of the advent of the Messianic kingdom. Thus, though Jeremiah had promised that after seventy years Israelites should be restored to their own land, and then enjoy the blessings of the Messianic kingdom under the Messianic king,[6] this period passed by and things remained as of old.[7] Some[who?] believe that the Messianic kingdom was not necessarily predicted to occur at the end of the seventy years of the Babylonian exile, but at some unspecified time in the future. The only thing for certain that was predicted was the return of the Jews to their land, which occurred when Cyrus the Persian conquered Babylon in circa 539 BC. Thus, the fulfillment of the Messianic kingdom remained in the future for the Jews.
Haggai and Zechariah explained the delay by the failure of Judah to rebuild the temple, and so hope of the kingdom persisted, until in the first half of the 2nd century the delay is explained in the Books of Daniel and Enoch as due not to man's shortcomings but to the counsels of God.[8] Regarding the 70 years of exile predicted in Jeremiah 29:10, the Jews were first exiled in 605 BC in the reign of king Jehoiakim and were allowed to return to their land in c. 536 BC when King Cyrus conquered Babylon. This period was approximately 70 years, as prophesied by Jeremiah.[citation needed] But some people[who?] believe that the 70 years of Jeremiah were later interpreted by the angel in Daniel 9 as 70 weeks of years, of which 69½ have already expired, while Enoch 85 interprets the 70 years of Jeremiah as the 70 successive reigns of the 70 angelic patrons of the nations, which are to come to a close in his own generation.[8] The Book of Enoch, however, was not considered inspired Scripture by the Jews, so that any failed prophecy in it is of no consequence to the Jewish faith.
The Greek empire of the East was overthrown by Rome, and prompted a new interpretation of Daniel. The fourth and last empire was declared to be Roman by the Apocalypse of Baruch[8] chapters 36–40 and 4 Ezra 10:60–12:35. Again, these two books were not considered inspired Scripture by the Jews, and thus were not authoritative on matters of prophecy. In addition, earlier in Daniel chapter 7 and also in chapter 2, the fourth and final world empire is considered to be Rome since Babylon, Medo-Persia (Achaemenid Empire), Greece, and Rome were world empires which all clearly arrived in succession. Thus, it might be interpreted[by whom?] that Daniel was saying that Rome would be the last world power before the kingdom of God.
Such ideas as those of "the day of Yahweh" and the "new heavens and a new earth" were re-interpreted by the Jewish people with fresh nuances in conformity with their new settings. Thus the inner development of Jewish apocalyptic was conditioned by the historical experiences of the nation. But the prophecies found in Jewish scriptures, which have not changed over time, await their fulfillment.
Another source of apocalyptic thought was primitive mythological and cosmological traditions, in which the eye of the seer could see the secrets of the future. Thus the six days of the world's creation, followed by a seventh of rest, were regarded as at once a history of the past and a forecasting of the future. As the world was made in six days its history would be accomplished in six thousand years, since each day with God was as a thousand years and a thousand years as one day; and as the six days of creation were followed by one of rest, so the six thousand years of the world's history would be followed by a rest of a thousand years.
The object of this literature in general was to square the righteousness of God with the suffering condition of His righteous servants on earth. Early Old Testament prophecy taught the need of personal and national righteousness, and foretold the ultimate blessedness of the righteous nation on the present earth. Its views were not systematic and comprehensive in regard to the nations in general. Regarding the individual, it held that God’s service here was its own and adequate reward, and saw no need of postulating another world to set right the evils of this one.
But later, with the growing claims of the individual and the acknowledgment of these in the religious and intellectual life, both problems, and especially the latter, pressed themselves irresistibly on the notice of religious thinkers, and made it impossible for any conception of the divine rule and righteousness to gain acceptance, which did not render adequate satisfaction to the claims of both problems. To render such satisfaction was the task undertaken by apocalyptic, as well as to vindicate the righteousness of God alike in respect of the individual and of the nation. Later prophecy incorporated an idea of future vindication of present evils, often including the idea of an afterlife.
Apocalyptic prophets sketched in outline the history of the world and mankind, the origin of evil and its course, and the final consummation of all things. The righteous as a nation should yet possess the earth, either via an eternal Messianic kingdom on earth, or else in temporary blessedness here and eternal blessedness hereafter. Though the individual might perish amid the disorders of this world, apocalyptic prophets taught that the righteous person would not fail to attain through resurrection the recompense that was due in the Messianic kingdom or, alternatively, in heaven itself.
Some may distinguish between the messages of the prophets and the messages of proto-apocalyptic and apocalyptic literature by saying that the message of the prophets was primarily a preaching of repentance and righteousness needed for the nation to escape judgment; the message of the apocalyptic writers was of patience and trust for that deliverance and reward were sure to come. Neither the prophets nor the apocalyptic authors are without conflict between their messages, however, and there are significant similarities between prophecy and apocalyptic writings.
Apocalyptic literature shares with prophecy revelation through the use of visions and dreams, and these often combine reality and fantasy. In both cases, a heavenly interpreter is often provided to the receiver so that he may understand the many complexities of what he has seen. The oracles in Amos, Hosea, First Isaiah, and Jeremiah give a clear sense of how messages of imminent punishment develop into the later proto-apocalyptic literature, and eventually into the thoroughly apocalyptic literature of Daniel 7–12. The fully apocalyptic visions in Daniel 7–12, as well as those in the New Testament’s Revelation, can trace their roots to the pre-exilic latter biblical prophets; the sixth century BCE prophets Ezekiel, Isaiah 40–55 and 56–66, Haggai 2, and Zechariah 1–8 show a transition phase between prophecy and
Prophecy believes that this world is God's world and that in this world His goodness and truth will yet be vindicated. Hence the prophet prophesies of a definite future arising out of and organically connected with the present. The apocalyptic writer despairs of the present and directs his hopes to the future, to a new world standing in essential opposition to the present. This becomes a dualistic principle, which, though it can largely be accounted for by the interaction of certain inner tendencies and outward sorrowful experience on the part of Judaism, may ultimately be derived from Mazdean influences. This principle, which shows itself in the conception that the various nations are under angelic rulers, who are in a greater or less degree in rebellion against God, as in Daniel and Enoch, grows in strength with each succeeding age, till at last Satan is conceived as "the ruler of this world" or "the god of this age." The prophet stood in direct relations with his people; his prophecy was first spoken and afterwards written. The apocalyptic writer could obtain no hearing from his contemporaries, who held that, though God spoke in the past, "there was no more any prophet." This pessimism limited and defined the form in which religious enthusiasm should manifest itself, and prescribed as a condition of successful effort the adoption of pseudonymous authorship. The apocalyptic writer, therefore, professedly addressed his book to future generations. Generally directions as to the hiding and sealing of the book[ were given in the text in order to explain its publication so long after the date of its professed period. There was a sense in which such books were not wholly pseudonymous. Their writers were students of ancient prophecy and apocalyptical tradition, and though they might recast and reinterpret them, they could not regard them as their own inventions. Each fresh apocalypse would in the eyes of its writer be in some degree but a fresh edition of the traditions naturally attaching themselves to great names in Israel’s past, and thus the books named respectively Enoch, Noah, Ezra would to some slight extent be not pseudonymous. Apocalyptic writing took a wider view of the world's history than did prophecy. Whereas prophecy had to deal with governments of other nations, apocalyptic writings arose at a time when Israel had been subject for generations to the sway of one or other of the great world-powers. Hence to harmonize Israel's difficulties with belief in God's righteousness, apocalyptic writing had to encompass such events in the counsels of God, the rise, duration and the downfall of each empire in turn, until, finally the lordship of the world passed into the hands of Israel, or the final judgment arrived. These events belonged in the main to the past, but the writer represented them as still in the future, arranged under certain artificial categories of time definitely determined from the beginning in the counsels of God and revealed by Him to His servants, the prophets. Determinism thus became a leading characteristic of Jewish apocalyptic, and its conception of history became mechanical.
Characteristics of Old Testament apocalyptic literature[edit]
The revelations from heavenly messengers, about the end times, came in the form of angels, or from people who have been taken up to heaven and are returned to earth with messages. The descriptions not only tell of the end times, but also describe both past and present events and their significance, often in heavily coded language. When speaking of the end times, apocalyptic literature generally included chronologies of events that will occur and frequently places them in the near future, which gives a sense of urgency to the prophet’s broader message. Though the understanding of the present is bleak, the visions of the future are far more positive, and include divinely delivered victory and a complete reformation of absolutely everything. Many visions of these end times mirror creation mythologies, invoke the triumph of God over the primordial forces of chaos, and provide clear distinctions between light and dark, good and evil. In such revelations, humankind is typically divided into a small group that experiences salvation, while the wicked majority is destroyed. Since the apocalyptic genre developed during the Persian period, this dualism may have developed under the influence of Persian thought. The imagery in apocalyptic literature is not realistic or reflective of the physical world as it was, but is rather surreal and fantastic, invoking a sense of wonder at the complete newness of the new order to come. According to Jewish tradition, the Messianic Era will be one of global peace and harmony, an era free of strife and hardship, and one conducive to the furtherment of the knowledge of the Creator. The theme of the Messiah ushering in an era of global peace is encapsulated in two of the most famous scriptural passages from the Book of Isaiah: They shall beat their swords into plowshares and their spears into pruning hooks; nation will not lift sword against nation and they will no longer study warfare.— Isaiah 2:4 The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them. The cow will feed with the bear, their young will lie down together, and the lion will eat straw like the ox. The infant will play near the hole of the cobra, and the young child put his hand into the viper's nest. They will neither harm nor destroy on all my holy mountain, for the earth will be full of the knowledge of the Lord as the waters cover the sea.— Isaiah 11:6-9
In his Mishneh Torah, Maimonides describes the Messianic Era:"And at that time there will be no hunger or war, no jealousy or rivalry. For the good will be plentiful, and all delicacies available as dust. The entire occupation of the world will be only to know God... the people Israel will be of great wisdom; they will perceive the esoteric truths and comprehend their Creator's wisdom as is the capacity of man. As it is written (Isaiah 11:9): "For the earth shall be filled with the knowledge of God, as the waters cover the sea."
According to the Talmud,the Midrash, and the ancient Kabbalistic work, the Zohar, the Messiah must arrive before the year 6000 from the time of creation. In Orthodox Jewish belief, the Hebrew calendar dates to the time of creation, making this correspond to the year 2240 on the Gregorian calendar. The Midrash comments: "Six eons for going in and coming out, for war and peace. The seventh eon is entirely Shabbat and rest for life everlasting."
There is a kabbalistic tradition[ that maintains that each of the seven days of the week, which are based upon the seven days of creation, correspond to the seven millennia of creation. The tradition teaches that the seventh day of the week, the Sabbath day of rest, corresponds to the seventh millennium, the age of universal 'rest' - the Messianic Era. The seventh millennium perforce begins with the year 6000, and is the latest time the Messiah can come. Supporting and elaborating on this theme are numerous early and late Jewish scholars, including Rabbeinu Bachya, Abraham ibn Ezra,the Ramban,Isaac Abrabanel, the Ramchal,the Vilna Gaon,Aryeh Kaplan, and the Lubavitcher Rebbe.
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Christian eschatology includes several views of the Messianic Age. According to realized eschatology, the Messianic Era, a time of universal peace and brotherhood on the earth, without crime, war and poverty, is already here. With the crucifixion of Jesus the Messianic Era had begun, but according to inaugurated eschatology it will only be initiated and fulfilled by the parousia of Christ.
The Book of Revelation is commonly interpreted as referring to the "unveiling" or "revelation" of Jesus as the Messiah in the apocalypse or end of the world. It tells of a 1000-year period after the apocalypse in which Satan will be bound so that he cannot influence those living on the Earth, and Jesus Christ will reign on the Earth with resurrected saints. After that Satan will be defeated once and for all, the Earth and heaven will pass away, and people will face judgment by Jesus Christ to determine whether or not they will enter the new heaven and Earth that will be established. (Revelation 21) The Nicene Creed, professed by most Christians, expresses the belief that Christ ascended to Heaven, where he now sits at the Right hand of God and will return to earth at the Second Coming to establish the Kingdom of God of the World to Come.
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2011) (Learn how and when to remove this template message) The Quran states that Isa ibn Maryam (Jesus, son of Mary) was the Messiah or "Prophet" sent to the Jews.[Quran 3:45] Muslims believe he is alive in Heaven, and will return to Earth to defeat the Masih ad-Dajjal, an anti-messiah comparable to the Christian Antichrist and the Jewish Armilus. A hadith in Abu Dawud (37:4310) says: Narrated Abu Hurayrah: The Prophet said: There is no prophet between me and him, that is, Jesus. He will descend (to the earth). When you see him, recognise him: a man of medium height, reddish hair, wearing two light yellow garments, looking as if drops were falling down from his head though it will not be wet. He will fight for the cause of Islam. He will break the cross, kill the swine, and put an end to war (in another tradition, there is the word Jizyah instead of Harb (war), meaning that he will abolish jizyah); God will perish all religions except Islam. He [Jesus] will destroy the Antichrist who will live on the earth for forty days and then he will die. The Muslims will pray behind him. Both Sunni and Shia Muslims agree Imam Mahdi will arrive first, and after him, Jesus. Jesus will proclaim that the true leader is al-Mahdi. A war, literally Jihad (Jihade Asghar) will be fought—the Dajjal (evil) against al-Mahdi and Jesus (good). This war will mark the approach of the coming of the Last Day. After Jesus slays al-Dajjāl at the Gate of Lud, he will bear witness and reveal that Islam is the true and final word from God to humanity as Yusuf Ali's translation reads:[Quran 4:159 (Translated by Yusuf Ali)] And there is none of the People of the Book but must believe in him before his death; and on the Day of Judgment He will be a witness against them.― (159) He will live for several years, marry, have children and will be buried in Medina. A hadith in Sahih Bukhari (Sahih al-Bukhari, 4:55:658) says: Allah's Apostle said "How will you be when the son of Mary descends amongst you and your Imam is from amongst you."Very few scholars outside of Orthodox Islam reject all the quotes (Hadith) attributed to Muhammad that mention the second return of Jesus, the Dajjal and Imam Mahdi, believing that they have no Quranic basis. However, Quran emphatically rejects the implication of termination of Jesus’ life when he was allegedly crucified. Yusuf Ali’s translation reads: That they said (in boast), "We killed Christ Jesus the son of Mary, the Messenger of Allah";― but they killed him not, nor crucified him, but so it was made to appear to them and those who differ therein are full of doubts, with no (certain) knowledge, but only conjecture to follow, for of a surety they killed him not. (157) Nay, Allah raised him up unto Himself; and Allah is Exalted in Power, Wise. (158)[Quran 4:157–158] So Peace is on me the day I was born, the day that I die and the day that I shall be raised up to life (again).[Quran 19:33] Many classical commentators such as Ibn Kathir, At-Tabari, al-Qurtubi, Suyuti, al-Undlusi (Bahr al-Muhit), Abu al-Fadl al-Alusi (Ruh al-Maani) clearly mention that verse 43:61 of the Qur'an refers to the descent of Jesus before the Day of Resurrection, indicating that Jesus would be the Sign that the Hour is close. And (Jesus) shall be a Sign (for the coming of) the Hour (of Judgment): therefore have no doubt about the (Hour)...[Quran 43:61] In Ahmadiyya Islam, the present age (the Messianic age) has been a witness to the wrath of God with the occurrence of the World Wars and the frequency of natural disasters. In Ahmadiyya, Ghulam Ahmad (d.1908) is seen as the promised Messiah whose Islamic teachings will establish spiritual reform and ultimately establish an age of peace upon earth. This age continues for around a thousand years as per Judeo-Christian prophecies; and is characterised by the assembling of mankind under one faith that is Islam as per Ahmadiyya belief. In the Bahá'í Faith, the "Messianic Age" refers to a 1000-year period beginning with the Declaration of Bahá'u'lláh in 1863. Bahá'ís believe the period of peace and prosperity is gradually unfolding and will culminate in the appearance of "The Most Great Peace".The prophet stood in direct relations with his people; his prophecy was first spoken and afterwards written. The apocalyptic writer could obtain no hearing from his contemporaries, who held that, though God spoke in the past, "there was no more any prophet." This pessimism limited and defined the form in which religious enthusiasm should manifest itself, and prescribed as a condition of successful effort the adoption of pseudonymous authorship. The apocalyptic writer, therefore, professedly addressed his book to future generations. Generally directions as to the hiding and sealing of the book were given in the text in order to explain its publication so long after the date of its professed period. There was a sense in which such books were not wholly pseudonymous. Their writers were students of ancient prophecy and apocalyptical tradition, and though they might recast and reinterpret them, they could not regard them as their own inventions. Each fresh apocalypse would in the eyes of its writer be in some degree but a fresh edition of the traditions naturally attaching themselves to great names in Israel’s past, and thus the books named respectively Enoch, Noah, Ezra would to some slight extent be not pseudonymous.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
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The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters 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 (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles 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.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Biserica Rusă, Biserica studenţilor, Bucuresti
St. Nicholas Russian Church [finished in 1909], Bucharest, Romania
Architect: V. A. Prevbrajenski
Murals: Viktor Vasnetsov
en.wikipedia.org/wiki/Bucharest_Russian_Church
www.monumenteromania.ro/index.php/monumente/detalii/en/Ru...