Temple synthesis of arts. Synthesis of arts is the combination of several different types of art into an artistic whole, the creation of an original artistic piece. Temple - synthesis of religious arts Temple synthesis of arts brief message

Topic No. 6-7. Temple synthesis of arts (part 2).

The purpose of the lesson: show how the reunion of various types of arts takes place in the temple.

Lesson objectives:

- show how in temples of different types of religions there is a combination of all elements of architecture and internal content.

Formation and education of tolerance towards the religions of other peoples.

Be able to listen to church music in all these churches.

Understand the importance of art in human life;

be able to think about works of various types of art;

development of creative capabilities and skills in comprehending the expressive means of art;

nurturing interest in the spiritual world of man.

Visual range: Presentation on the topic of the lesson, a fragment of the video film “The Art of the Middle Ages”, musical excerpts from works performed in churches.

Lesson type: mastering skills and abilities.

During the classes

Introductory word (1 min).

Updating previously studied material (13 min).

Orthodoxy and Catholicism

A) combining art forms into an artistic whole

B) contrast between arts

C) comparison of arts

2. What is a temple? A) the dwelling of a worldly person B) a religious building

B) secular building

3. What types of arts are found in Orthodoxy? ___________________________

4. What feelings does religious art evoke? ______________________________

________________________________________________________________________________

5. What types of arts are synthesized in Catholicism? _____________________________

________________________________________________________________________________

6. What religion do these temples and cathedrals belong to?

1) ______________________________________

2) ______________________________________

3) ______________________________________

2. written questions.

Temple synthesis of arts. Orthodoxy and Catholicism.

1. What is a synthesis of arts?

2. In what areas can a synthesis of the arts be found?

3. Why do the emergence, development and existence of the arts of different peoples of the world have amazing similarities?

4. What is a temple

5. What can the earthly Temple be compared to?

6. Why do people need temples?

7. Name the features of temple art that evoke moral feelings.

8. What feelings does a person experience while in church?

9. Name the features of an Orthodox church.

10. List the features of a Catholic church.

Summing up, grading

Catholic temple.

Today we will look at churches of the main faiths - an Orthodox church, a Catholic cathedral, a Muslim mosque and a Buddhist temple.

Temple -is an image of the presence of the Kingdom of Heaven on earth, and, accordingly, it is an image of the palace of the King of Heaven. From this image comes the tradition of decorating the temple like royal palaces, using all the artistic means available to a particular era.

Construction of an Orthodox church.

The Orthodox church comes from Byzantium.

According to religious beliefs, the church building personifies the cosmos, where domes and vaults symbolize the sky, and walls and pillars symbolize the earth.

The temple was always placed with the altar to the east - towards the sun - not by chance: God is associated with light.

Every temple crowns dome with a cross.

The dome symbolizes the sky, so it was often painted blue and covered with images of stars.

The number of domes was given symbolic meaning. Two were interpreted as a manifestation of the divine and human principles in Christ, three - as three hypostases, that is, essences, of God (Father, Son and Holy Spirit), five - as Christ and the four evangelists, thirteen - as Christ and the twelve apostles.

The dome rests on a cylindrical drum , cut through by windows. The domed drums and vaults are supported by arches on powerful pillars. The outside walls are completed with semicircular zakomars , repeating the outlines of the vaults. This name comes from the ancient word “komara”, which means vault.

The eastern part of the temple has semi-cylindrical projections -apses,in which the altar is located. From the outside, the eastern part of the temple is easily recognizable by the apses - semi-cylindrical projections in which the altar is located. Their number (one, three, five) most often depends on the size of the temple. Domes with crosses and apses are perhaps the most characteristic details of the temple, distinguishing it from any other building.

The artistically decorated entrance to the temple is called portal , and the open porch in front of it - porch .

Sometimes temples were surrounded by open or closed galleries , which in Rus' were called gulbischami - from the word “to walk”. Often they added to the temple aisles - small churches that have their own altar with a throne and a dome with a cross. The presence of one or more chapels in the church made it possible to perform several services during the day.

Teacher.

Consider a Catholic cathedral from the Gothic era.

The Gothic cathedral, with all the richness of its constituent elements, amazes with the extraordinary unity of both the architectural plan and the entire decorative system (exterior and interior). Moreover, this unity characterizes the Gothic style as a whole.

The grandeur and majesty of the architectural image of the Catholic cathedral sounds especially sublime in the bright, soaring spaceinterior . All decorative elements rush upward in a powerful stream: thin, graceful pillars, columns, pointed arches. Huge openwork windows with colored glass - stained glass - create a transparent and light barrier between the interior of the cathedral and the outside world. Mysterious colors pouring through stained glass windows , creating an unusual color environment in the temple, different from the outside world, symbolizes the light of Christian knowledge.

We will hardly see icons in a Catholic church, but ortals and altar barriers of Gothic cathedrals are completely decorated statues, sculptural compositions, ornaments, fantastic figures of animals(chimeras).

Primary importance was attached to the decor of the main - western - portal of the cathedral. A special iconography was developed for him, the purpose of which was to present the Christian concept of the world.

The clearest example is the western portal of Amiens Cathedral with its famous “Blessing Christ” on the column of the pier, sung by many generations as “The Beautiful God” (Le Beau Dieu).

Huge openwork windows with colored glass - stained glass- make a transparent and light barrier between the interior of the cathedral and the outside world. The colored mysterious light pouring through the stained glass windows, creating an unusual color environment in the temple, different from the outside world, symbolizes the light of Christian knowledge.

In development of stories stained glass, as well as in the detailed elaboration of the iconography of the portals and the entire sculptural decor, there is nothing accidental. We can see a well-thought-out system of characters and scenes not only inside one window or rosette, but throughout the entire system of stained glass windows of the cathedral as a whole. And here we see the same comprehensiveness that has already been discussed in connection with the concept of the Gothic cathedral as a whole.

This place was called a'trium (or na'rtex).

A porch led from the narthex to the portal - an elevated place. In the narthex and on the porch there were usually those excommunicated and catechumens, i.e. those preparing for the rite of baptism (they were not allowed to enter the temple during the service. The main portal and side portals led to the main and side naves of the temple.

The plan of the Catholic church of the Middle Ages was based on a Latin elongated cross. The elongated part of the temple is designed not only to accommodate a large number of believers, but also to be a symbol of the long path along which a person must travel in his perfection. It is not for nothing that scenes of the so-called Stations of the Cross - an image of the suffering of Christ - were often placed on the side walls.

Nave (French nef, from Latin navis - ship) is an elongated room, part of the interior (usually in basilica-type buildings), limited on one or both longitudinal sides by a number of columns or pillars separating it from neighboring naves.

The main nave was intersected by a transverse nave running from south to north. The intersection of the main and transverse nave is called the middle cross. Usually this place is indicated by a spire or dome (similar to the dome in Orthodox churches). Behind the middle cross there is usually a choir - a place for the clergy present during the service. This part symbolizes the image of heaven.
The main semantic elements of the temple and its most sacred places are located in the sanctuary - the altar and the tabernacle - tabernakula (from the Latin Tabernaculum - tent), i.e. The Holy of Holies, where the Ark of the Covenant was located during the expedition from Egypt. The altar corresponds to the altar of an Orthodox church. This is a table covered with a blanket, on which there are liturgical utensils and liturgical books. It is always open and all believers see the sacraments of communion. The main sacred rites are performed at the altar.

An important element of large Catholic churches has always been the pulpit from which the priest delivered his sermon. If a bishop constantly conducted services in a church, the temple was called a cathedral (a cathedral is a church in which the chair of a bishop is located - the head of the church in a certain territory - a “diocese”).

In every Catholic church there is always a place for confession, which is called a confessional or confessional.

Under the choir, below the floor level, there is a crypt (“secret place”), a crypt where the burial of the saint to whom the temple is dedicated is located.

Catholicism and Orthodoxy - Main differences in dogma

Orthodoxy does not accept the Latin formulation of the Nicene-Constantinople Creed, which speaks of the procession of the Holy Spirit not only from the Father, but also from the Son (Filioque).

Orthodoxy also rejects its supremacy over all Christians.

In Catholicism, unlike Orthodoxy, there is also Her bodily ascension.

In Catholicism, unlike Orthodoxy, there is a dogmatic concept about, as well as the doctrine of the supererogatory merits of saints.

+ ritual differences

This is how the art critic P.P. wrote about the cathedrals of France. Gnedich: “These endlessly intertwined arcades and vaults seem to lead somewhere to another world. Everything strives for something higher, gigantic... new pillars are piled on the colossal pillars of the columns, through air passages hang over them; the vaults rise higher and higher; above them there are bell towers, then more and more bell towers, and their sharp turrets seem to be lost in the clouds. Inside, under the arched arches, an endless row of columns, passages, statues and tombs is shrouded in lace of elegant ornamentation.”

4.Islam.

Muslim rituals initially did not require the construction of special buildings for prayer in accordance with the hadith: “The earth was created for me as a masjid and a place of purity, and wherever a person of my ummah needs prayer, let him pray.”

Muslim temple(mosque) with its great dome symbolizes the one God (Allah) and minaret(tower near the mosque) - his prophet (Mohammed). The Muslim mosque includes two proportionate spaces - an open courtyard and a shaded prayer hall.

The main architectural elements of the mosque served as the basis for the formation of Muslim concepts of beauty. The huge dome soars above the mosque, as well as the architectural " stalactites"- niches hanging over each other create the illusion of an endless and incomprehensible sky and symbolize divine perfect beauty, and the minaret - divine grandeur. Decorative sayings from the Koran are placed on the walls of the mosque.

Mosque- not a temple where sacraments are performed during worship, but a place for collective prayer, indicating the qibla to believers, that is, the direction to the Kaaba - the main shrine of the Muslim world, a cubic structure in the courtyard of the Forbidden Mosque in Mecca, where the “Black Stone” is kept.

Inside the mosque, if there is no prayer, men, women and children can walk anywhere: there are no “sacred places” or “protected areas”.

Muslim temple ( ) with its great dome symbolizes the one God (Allah) and the minaret (tower near the mosque) - his prophet (Mohammed).

The Muslim mosque includes two proportionate - open courtyard and shaded prayer hall.

The part of the mosque, which is directed towards the holy Mecca for Muslims, has a mihrab (empty recess) in its design. To the right of which there is a minbar (a special pulpit from which the preacher, imam, reads a prayer to believers during Friday prayers).

Mosque ( مسجد ‎‎ - "place of worship") - prayer (liturgical) architectural structure.

It is a separate building with a gambiz dome; sometimes the mosque has a courtyard ( ). Towers are attached to the mosque as an outbuilding - numbering from one to nine (the number of minarets should be less than in ). The prayer hall is devoid of images, but lines from In the Arabic language. The wall facing , marked by an empty niche, in which he prays . To the right of the mihrab there is a pulpit- with whom the preacher reads his believers during . As a rule, schools operate at mosques. .

Already at the end of the 7th century, a distinction was established depending on the purpose and functions between:

quarter mosque- mosque daily five times prayer;

The main architectural elements of the mosque served as the basis for the formation of Muslim concepts of beauty. The huge dome hovering above the mosque, as well as the architectural “stalactites” - niches hanging over each other, create the illusion of an endless and incomprehensible sky and symbolize the divine perfection , and the minaret is divine grandeur. Decorative sayings from the Koran are placed on the walls of the mosque.

The minarets are decorated with belts of patterned brickwork or stone carvings, openwork grilles and balconies, ornaments and inscriptions. The minaret ends with a dome or tent. The walls are thick, but their heaviness is not visible. Why? The effect of ceramic mosaics, paintings, carvings. All this, like a flowery carpet, covers the buildings, making you forget about the massiveness of the structures. The heaviness of the walls, which is not felt behind the cladding, azure patterned tiles.

Everything is in a simple form, but the surface is completely covered with complex patterns. Leaves, flowers, rhombuses, stars, inscriptions. These patterns are intertwined. It's hard to take your eyes off them. The walls are lined with tiles and ceramic tiles covered with mosaics.

In religious In Islam, among all types of arts, architecture (palaces, mosques) and poetry, sounding to the accompaniment of stringed instruments, received preference. The depiction of a deity or any living creature was considered sacrilege. Therefore, the artistic style of Islam is decorative, ornamental.

Endless in its own way ornament serves as a way of artistic expression of the Islamic worldview. It is the ornament that is built on the rhythmic repetition of the main motifs. And in Islam, repetition is considered one of the reliable ways to comprehend the truth and express devotion to Allah.

Conclusion: In the religious culture of Islam, among all types of arts, architecture (palaces, mosques) and poetry, sounding to the accompaniment of string instruments, received priority. The depiction of a deity or any living creature was considered sacrilege. Therefore, the artistic style of Islam is decorative, ornamental. The ornament, endless in nature, serves as a way of artistic expression of the Islamic worldview. It is the ornament that is built on the rhythmic repetition of the main motifs. And in Islam, repetition is considered one of the reliable ways to comprehend the truth and express devotion to Allah.

5. Buddhism.

The ancient Buddhist temple, built of powerful hewn stones and slabs, was the basis for a lush and heavy ornamental sculptural decoration covering almost its entire surface. A peculiar consequence of this is the absence of an arch and vault. In Buddhist temples, numerous bells hang on the roofs. They sway at the slightest gust of wind, filling the surrounding space with a gentle melodic ringing. At the same time, bells protected the sanctuary from the penetration of evil spirits and were part of ritual objects that were used in church ceremonies. Buddhist religious holidays are usually accompanied by processions with theatrical performances, music and ritual dances in the open air.

Stupas- Early stupas in Buddhism served to store relics of the Buddha himself.

The hemisphere is a symbol of Heaven and infinity; in Buddhism it means the nirvana of Buddha and Buddha himself. There is a legend that Buddha was once asked what his funeral structure should be like. The teacher laid his cloak on the ground and turned a round begging bowl onto it. So the stupa acquired a hemispherical shape from the very beginning.

The central pole of the stupa is the axis of the Universe, connecting Heaven and Earth, a symbol of the World Tree of Life. Umbrellas at the end of a pole, a stepping stone to nirvana, are also considered a symbol of power.

An ancient Buddhist temple, built of powerful hewn stones and slabs, was the basis for a magnificent and heavy ornamental sculptural , covering almost its entire surface. A peculiar consequence of this is the absence of an arch and vault.

The pagoda is of particular importance in temple ensembles of Buddhist culture. The spire that ends the Buddhist pagoda is usually located on the central column, under which jewelry was kept. This treasure symbolized the ashes of Buddha. Pagoda - designed to store the remains of the earthly body of Buddha Shakyamuni. Almost every temple has a legend about how these remains got to Japan: they were miraculously transported to the islands or they were sent as a gift by the rulers of the mainland powers. The pagoda has three or five tiers; in the center there is always a main pillar made from the single trunk of a large tree. The remains of the Buddha are kept either along the central pillar or on its top

Buddhist temples are distinguished by the special design of their cornices: they bend so softly and gracefully that they take on the appearance of an almost horizontal arrangement. The roofs are characterized by a hip-and-gable style. The height of the buildings was small, since the harmony with the surrounding nature should not be disturbed. The decor of Buddhist temples is dominated by yellow and red colors.

The magical guards of Buddhist temples, frozen in stone, look very original. In the corners of the roof, stone mythical monsters grin, symbolizing the evil forces that are kept at a distance from the temples.

Thus, a Buddhist temple is not a separate building, but a whole system of special religious buildings, thereby reminiscent in its structure of ancient Russian monasteries. Their structure depended on their purpose: they could be part of a complex of educational buildings - for example, a school.

The place of construction also mattered - Buddhist temples are always very harmoniously integrated into the natural landscape, often next to waterfalls and rivers.

In Buddhist temples, numerous bells hang on the roofs. They sway at the slightest gust of wind, filling the surrounding space with a gentle melodic ringing. At the same time, bells protected the sanctuary from the penetration of evil spirits and were part of ritual objects that were used in church ceremonies. Buddhist religious holidays are usually accompanied by processions with theatrical performances, music and ritual dances in the open air. .

Buddhism ( .

To be a Buddhist means to “take refuge in the Three Treasures”—the Buddha, his teachings, and his community. Typically, a Buddhist temple is designed in such a way that all the “Three Treasures” are collected and clearly presented in one place. This place must be protected from the outside world, from extraneous sights, sounds, smells and other influences. The territory of the temple is closed on all sides; powerful gates lead to it.

In Russian translations of Japanese texts and in the works of researchers you can often find the phrase “Buddhist monastery”. It is important to keep in mind that “temple” and “monastery” in this case are the same thing. Monks live in any temple.

Sculpted, painted or embroidered images of the Buddha are placed in the “golden hall”, condo:. This could be Buddha Shakyamuni, and other Buddhas: the universal Mahavairocana, the compassionate Amitabha, etc. There may also be images of bodhisattvas and other revered beings.

The teaching resides in the temple in the form of texts from the Buddhist canon. They are not simply kept in the form of scrolls of books or in the memory of experts, but are constantly reproduced through reading and interpretation in the “reading hall”. The community consists of monks, their disciples, as well as lay people who temporarily settled in the living quarters of the temple. As a rule, these rooms are arranged in galleries.

Fixing the material (5 min).

Look at photographs of temples representing the main world religions: Christian (Catholicism and Orthodoxy), Buddhist and Muslim, their plans and interiors. Describe the specifics of each of them. Is there anything in common between them? If so, what exactly? What can you say about the styles of these temples? What is the specificity of each?

What arts are involved in religious rituals?

Listen to the music that accompanies worship services in different religions and determine in which temples it should be played. Correlate the nature of its sound with the features of a particular temple.

Homework (1 min).

lecture material.

make a table and compare 4 types of architecture according to the following types of criteria:

Internal content

Features of architecture.

The role of visual aids in conveying the meaning of holiness.

Art test, 9th grade

What is a synthesis of arts?

A. Selecting one type of art.

B. A combination of several different types of art.

What three parts (according to Vitruvius) does the “formula of architecture” consist of?

A. Durability, usefulness, eternity.

B. Durability, usefulness, beauty.

IN. Sizes, benefits, beauty.

Draw an arch. How can you use it to obtain the other two most important structures of stone architecture - a vault and a dome? Draw them side by side.

What is a buttress?

A. Additional external support

B. A metal beam inside the temple, pulling together the opposite walls.

How is an Orthodox church oriented relative to the cardinal directions?

A. On the western side is the entrance, on the eastern side is the altar.

B. On the east side is the entrance, on the west is the altar.

The portal is:

A. Artistically decorated entrance to the temple.

B. Interior of the altar.

The minaret is:

A. Small mosque.

B. Tower at the mosque.

8. The walls of the mosque are decorated

A. Images of Muslim saints.

B. Texts of the Koran and ornaments.

The emergence, development and existence of the art of different peoples of the world has amazing similarities. This testifies to the universal laws of art, which are embodied in rites, beliefs, and religious rituals. The architecture, design of churches, and the musical accompaniment of worship reflected man’s ideas about the world, the worldview of the era and the people who created them.

Temples are religious buildings that embody the image of the world order in a particular religion (Christianity, Buddhism, Islam), its basic values.

The temple is, as it were, the earthly dwelling of the unearthly and omnipresent God, a place of finding God through prayer, a place of unity with God through the sacrament, a place of salvation of the soul. . .

The earthly temple is an image of the Temple on High, the earthly dwelling of God. Therefore, the image of the Temple contains within itself the idea of ​​the Divine that goes beyond the limits of human consciousness and at the same time absorbs all ideas about the world order. In the Temple, a person seeks refuge from the bustle of the world. Turning to God in a prayerful impulse, he realizes the unity of the earthly and the heavenly.

The melodiousness of the Word, the strict faces of ancient icons, the majestic architecture of churches and temples, the monumentality of frescoes, the restrained plasticity of sculptures, the sound of church music with its strict and sublime melodies, objects of decorative and applied art - all this evokes high moral feelings, thoughts about life and death, sin and repentance, gives rise to the desire for truth and ideal. Religious art appeals to such human feelings as compassion and empathy, tenderness and peace, enlightened joy and spirituality.

In an Orthodox church, the main room of the church, including the under-dome space, is reserved for worshipers. The altar part is for divine super-reality. An icon is a visible reminder of God and a call to Him. In ancient times, strict monophonic melodies were in tune with the faces of saints represented on icons, mosaics, and frescoes. In the 18th century they were replaced by polyphonic concert compositions, symbolizing the power and unity of secular and ecclesiastical principles as the basis of Russian statehood.

The golden background seems to carry the figures of saints into inaccessible luminous spheres. Intense colorful spots in mosaics give expressiveness to the images of saints and real people. The shining of a huge number of lamps and candles, the singing of skillful and trained singers enhance the splendor of the service. But the internal, spiritual and spiritual filling of the ritual with prayer is the work of the people in the temple.
The grandeur and majesty of the architectural image of the Catholic cathedral sounds especially sublime in the bright, soaring space of the interior. All decorative elements rush upward in a powerful stream: thin, graceful pillars, columns, pointed arches. Huge openwork windows with colored glass - stained glass - create a transparent and light barrier between the interior of the cathedral and the outside world. The colored mysterious light pouring through the stained glass windows, creating an unusual color environment in the temple, different from the outside world, symbolizes the light of Christian knowledge.

Architecture, sculpture, painting, the sacrament of liturgical action in an Orthodox church are correlated with unaccompanied choral singing (acapella). In Catholicism - not only with singing, but also with the sound of the organ.

Listen to the music that accompanies worship services in different religions and determine in which temples it should be played. Correlate the nature of its sound with the features of a particular temple.

Sergeeva G. P., Art. 8-9 grades: textbook. for general education institutions / G. P. Sergeeva, I. E. Kashekova, E. D. Kritskaya. - M.: Education, 2009. - 190 pp.: ill.

Ministry of Education and Science of the Russian Federation

State educational institution

Higher professional education

SARATOV STATE UNIVERSITY

NAMED AFTER N.G. CHERNYSHEVSKY

Psychology faculty

Essay

Academic discipline: History of culture and psychology of art

Topic: “Temple - synthesis of religious arts”

Completed by: Miloslavskaya A.V.

4th year student of group 410

correspondence department

Faculty of Psychology

Teacher: Bogatyreva E.N.

Saratov 2014

Introduction

The concept of “cult art”

2.Temple - synthesis of religious arts

Symbolism of the cross-domed church

Conclusion

Bibliography

Introduction

cult art temple symbolism

“Man shall not live by bread alone, but by every word that proceeds from the mouth of God” (Matthew 4:4)

The people of Ancient Rus' were not the first people from Europe to embark on the path of Christianity; the Byzantine Church had already experienced a long period of struggle against heresies and apostasies. A coherent and thoughtful theological teaching emerged, developed by the Holy Fathers in the process of overcoming errors that tried to blur and obscure the Divinely Revealed Truth.

Russian religious consciousness perceived Christian doctrine as something complete and absolutely unshakable. Not indifference to philosophical questions and thoughts about lofty things, but acceptance in the heart of this indivisible integrity, inextricably linked with worship and spiritual experience, is characteristic of the national consciousness of the Russian people that has been formed over the centuries.

The chronicle's story about the first entry of our ancestors into the Temple of God is significant. The ambassadors of Prince Vladimir, the Baptist of Rus', were captivated by the wondrous beauty of Byzantine worship. Christianity was revealed to the Russian people by heavenly beauty, and through this unique gift, our people perceived the Christian faith as a revelation of saving Beauty and Goodness that transforms the world.

The Word is a great powerful force. But, besides words, there are things that can also express our states, our experiences. This is music, this is plastic art, this is painting, fine art.

And over the course of a number of centuries it so happened that the Christian church, ideally, of course, truly became a synthesis of the arts.

1. The concept of “cult art”

Initially, art was called a high degree of mastery in any matter. This meaning of the word is still present in the language when we talk about the art of a doctor or teacher, about martial art or oratory. Later, the concept of “art” began to be increasingly used to describe a special activity aimed at reflecting and transforming the world in accordance with aesthetic norms, i.e. according to the laws of beauty. At the same time, the original meaning of the word has been preserved, since the highest skill is required to create something beautiful.

The concept of “cult” is often found in the scientific literature, and there are different approaches to defining the essence and content of this concept.

Cult (from the Latin “cultus” - veneration, worship, from “colo” - cultivate, honor) is the religious veneration of any objects, real or fantastic creatures endowed with supernatural properties, including deities; as well as a set of rituals (rites) associated with such veneration.

Cult is a system of veneration of supernatural forces, consisting in the performance of certain ritual actions (sacrifices, worship, etc.), which are credited with the ability to influence these forces in the desired spirit. The cult developed from beliefs in supernatural forces (spirits, gods) and the need to propitiate them by man (propitiatory cult) or coerce them (magic).

“Cult is the main type of religious activity. Its content, meaning and symbolism are set by the corresponding concepts, ideas, dogmas set out in the cult text reproduced during the action. The subject of the cult is various phenomena and forces, recognized in the form of religious patterns (material things, animals, the natural environment, luminaries, etc.), endowed with special properties and connections by religious consciousness. Varieties of the cult are: ritual dances around images of animals, hunting objects, spells of spirits, rituals, divine services, rituals, holidays, prayers, confession, fasting, etc.”

Based on the above definitions, we can give the concept of cult art - this is art that is a kind of cult in the minds of people.

Religious art, in its first function, acts as a means of arousing and strengthening religious feelings, a means of promoting the connection of believers with the supersensible, transcendental, otherworldly world. But art, even in the system of cult, continues to remain artistic creativity and continues to evoke aesthetic experiences.

For example, in Orthodox religious art, not only the physical appearance of Christ, the Mother of God, and the saints is conveyed, but its main task is to comprehend and express their divine otherworldly essence. But we should also not forget that in Orthodox religious art a contradiction arose between the tendency towards convention, schematization, deformation of reality and the tendency towards an artistically truthful depiction of real phenomena, images and events.

Based on this, the following functions of religious art can be distinguished:

· a specific religious function aimed at strengthening and strengthening religious beliefs,

· an aesthetic function that evokes and develops aesthetic feelings and experiences and forms aesthetic taste.

Temple - synthesis of religious arts

In church art it is possible, although only conditionally, to distinguish two sides:

· internal (or meaning-forming)

· external (or semantic component)

The main one, of course, is the internal one, which contains the spiritual and dogmatic meaning of what is enclosed on the external side in visible conventional, pictorial (architectural, pictorial) forms.

In its essence, church art is a reflection of a person’s prayer experience.

Temples are the external side of church art. Temples are religious buildings that embody the image of the world order in a particular religion (Christianity, Buddhism, Islam) and its basic values.

The Orthodox church represents a complex symbol, inexhaustible in its visibility - it is both an image of the Universe and an image of the Church existing within its boundaries, spread throughout the world and contemplated in the future. The temple is, as it were, the earthly dwelling of the unearthly and omnipresent God, a place of finding God through prayer, a place of unity with God through the sacrament, a place of salvation of the soul.

The location of the temple, its architecture, decoration, and painting system symbolically express what is impossible to depict directly.

For example, the external color of a temple often reflects its dedication - to the Lord, the Mother of God, some saint or holiday:

· Bely - a temple consecrated in honor of the Transfiguration or Ascension of the Lord;

· Blue - in honor of the Blessed Virgin Mary;

· Red - dedicated to the martyr(s);

· Green - to the Reverend;

· Yellow - to the saint.

The number of domes on temples is also symbolic:

· 1 - symbolizes the One God;

· 3 - Holy Trinity;

· 5 - Savior and four evangelists;

· 7 - seven sacraments of the Church;

· 9 - according to the number of angelic ranks;

· 13 - The Savior and the twelve apostles;

· 25 - they talk about the prophecy of John the Theologian;

· 33 - according to the number of years of the Savior’s earthly life.

Don’t forget about the symbolism of the color of the domes:

· Gold is a symbol of heavenly glory. The main temples and the temples dedicated to Christ and the twelve feasts had golden domes.

· Blue domes with stars crown churches dedicated to the Mother of God, because the star recalls the birth of Christ from the Virgin Mary.

· Trinity churches had green domes, because green is the color of the Holy Spirit.

· In monasteries there are black domes - this is the color of monasticism.

The constructive basis for the synthesis of arts in the temple is architecture. It creates the multidimensional space of the temple, which forms the architectural basis for the synthesis of arts in the ancient Russian cross-domed temple. This space has two spiritual centers - the altar and the dome. In both places, according to the symbolism of the temple space, the spiritual sky with all its inhabitants is located. Accordingly, the main directions of spatial movement in the temple - from west to east (towards the altar) and from bottom to top (towards the dome) - are embodied in a certain new vector of spiritual space from the lower world to the higher world.

Symbolism of the cross-domed church

Since Christian worship, unlike pagan rituals, took place inside the temple, Byzantine architects were faced with the task of creating a temple with a spacious room in which a large number of people could gather. The cross-domed type of the temple fully met these requirements.

The character of Byzantine culture was clearly manifested in the predominance of temple buildings in Byzantine architecture. The types of Byzantine churches were very diverse and developed according to individual historical periods. The most prominent types are: domed basilica, peristyle type of church, churches covered with a dome on eight supports and cross-domed buildings. In all these architectural types, a dome dominated the pulpit, covering the central part of the building, to which the altar in the apse adjoins. The central part is surrounded by additional rooms for those present during the service.

The most successful type of temple for Byzantine worship turned out to be a shortened basilica, topped with a dome, and, according to the Apostolic decrees, facing the east with the altar. This composition was called cross-dome.

After baptism, Rus' inherited a lot from Byzantine culture; initially, architects tried to copy the architecture of churches; over time, the construction of temples acquired a unique style and its own sacred meaning.

The question of the architectural symbolism of the cross-domed church was resolved by Soviet art criticism - from N. I. Brunov and V. N. La dawn before A.L. Yakobson and A.I. Komech - long ago and unambiguously: the temple is the image of the world. This cosmological concept, which finds satisfaction in the most elementary and rationalistic explanation understanding the meaning of the temple, is firmly rooted both in academic science and in mass, educational art history, essentially desymbolizing the architectural space and closing the way to its living perception.

The temple is like a person. Anthropological symbolism is embedded in the at the rite of consecration of the Byzantine temple. “The temple... is being built in times our body, which is the temple of God... During the consecration of the temple, something similar is done to what is done for the consecration of every raging. The consecration of the temple is like St. baptism and confirmation nyyu...” Based on the material of ancient Russian architecture, anthropological Chinese symbolism is expressively described by D. S. Likhachev: “...A temple is a kind of person. It is no coincidence that the main parts of the temple are named after the likeness of a person: the windows are the eyes of a person" (root "ok na" - eye), dome - head, this head of the temple is placed on the neck, os The foundation of the temple is its foundation. Rain protection ledges above approx. with our eyes - eyebrows.” Although the Byzantine interpreters of temple symbolism preferred, as we have seen, not so much the physical as to the spiritual likening of the temple to man, putting it in correspondence with the member the division of the internal space into the altar, naos and narthex is triple to the new composition of man - spirit, soul and body, at the next level of the symbolic hierarchy - “deification”, “walking along the path of salvation” niya" and "the beginning of the correction of man after the Fall," etc.

The temple is like a cover. This symbolic image is also often used is clearly embodied in the architecture of the cross-domed church, the central structural link of which is the dome on four three supports - forms a sacred canopy, overshadowing the very sign dear, holy. It’s like a collective cover over the people, actua lizing the image of the church. In individual perception, the dome The temple can be a symbolic cap, miter, helmet of the communicant under the cover of the dome. In this case, the circle under the dome becomes a halo, which in turn is felt as a symbol of holiness, that is, a cover of uncreated light.

Military symbols shine through in the dome-helmet, / I am present serving in the liturgical rite and transforming the participant in the service into a “soldier of Christ.” This symbolic line would almost literally la materialized in some domes of ancient Russian churches.

1.Saint Sophia Cathedral

An example of the Byzantine style in Rus' was the Church of St. Sophia in Kyiv (11th century), built, like the churches in Constantinople, of brick. But enlarged by two rows of columns in width and one in length, the Kiev temple acquired the appearance of a grandiose cross-domed massif with five longitudinal and four transverse naves. The ritual of the medieval Russian court, requiring the separation of the prince and his retinue from the mass of worshipers, determined the same model of organization of choirs as in Sophia of Constantinople. Encircling the central core of the temple on three sides - above the northern, western and southern naves, the choirs through triple arches enter the bright space of the temple under the dome, saturated with Light through the central chapters, as well as through the light drums of the small chapters above them. The abundance of light and the vault raised by three ledges to the sleeves of the central cross create the feeling of a gigantic pillar of light on which the space of the temple seems to be strung.

At the same time, individual details indicate the preservation of Slavic pagan images. The pillars of the temple have a cross-shaped shape, not typical of Byzantine architecture, and liken the interior of Sophia of Kyiv to a forest, where rows of tree trunks cover an open clearing - the space under the dome. At the same time, the pronounced verticality and pyramidal structure of the cathedral’s dome space is consonant with the image of the mythological world tree. In Slavic mythology, this is the paradise tree Vyriy with riders, animals, birds in the branches. They are also found in the decorative design of the cathedral.

The pyramidal volume of the cathedral from the outside is also finely built. On three sides - from the west, north and south - it is adjoined by two-story galleries-gulbishas, ​​which are not typical for Byzantine architecture and are rather a tribute to the folk pagan tradition. The cathedral is crowned with thirteen domes (which is also unusual for the Byzantine building tradition), growing as if before our eyes. The height increases from small domes without light drums to domes with light drums above the choirs, then to high domes above the arms of the central cross, ending in the central chapter soaring above the general volume. This entire complex structure, harmoniously growing in breadth, height, and length, creates a pyramidal volume reminiscent of the shape of a burial mound - the mythological prototype of the world mountain.

At the same time, the Cathedral of St. Sophia, preserving in detail the echo of the Slavic pagan tradition, symbolized the new world in which the Orthodox Russian people were to live.

2.External structure of the Temple

The symbolism of the temple explains to believers the essence of the temple as the beginning of the future Kingdom of Heaven, puts before them the image of this Kingdom, using visible architectural forms and means of pictorial decoration in order to make the image of the invisible, heavenly, divine accessible to our senses.

If the prototype - the Kingdom of Heaven - is an area of ​​truth, truth and beauty, then similar characteristics should be applied to the architecture of the temple, which claims to reflect the heavenly prototype.

Architecture is not able to adequately recreate the heavenly prototype, if only because only some holy people during earthly life were awarded a vision of the Heavenly Kingdom, the image of which, according to their explanations, cannot be expressed in any words. For most people, this is a mystery that is only slightly revealed in the Holy Scriptures and Church Tradition.

In the Revelation of St. Evangelist John the Theologian (Apocalypse) the symbolic image of the Heavenly City - Holy Jerusalem is conveyed in the following definitions:

“It has a large and high wall, has twelve gates... on the east there are three gates, on the north there are three gates, on the south there are three gates, on the west there are three gates” (Rev. 21:12-13);

“The city is laid out in a quadrangle... its length and breadth and height are equal” (Rev. 21:16);

“The wall thereof was built of jasper, and the city was pure gold, like pure glass” (Rev. 21:18);

“The throne of God and of the Lamb will be in it, and His servants will serve Him” (Rev. 22:3).

In earthly images of temples, these characteristics can be expressed as follows:

· square shape of the plan and cubic shape of the volume;

· three-part divisions on each side;

· centricity of the planning structure;

· the hierarchy of its elements with the throne in the middle;

· precious decoration (gold, stones);

· white.

All these characteristics are present in the ancient Russian temple.

The Temple is the image of the Universal Church, its basic principles and structure. In the Creed the Church is called “One, Holy, Catholic and Apostolic.” In some way, these features of the Church can be reflected in temple architecture. For example, the image of the unity of the Church headed by Christ is visibly embodied by the cubic volumes of ancient Russian churches, crowned with one dome.

The holiness of the Church can be figuratively expressed by the whiteness of the walls of churches and the radiance of golden domes, like halos on icons of saints.

Conciliarity and apostolic succession are expressed both in the hierarchical structure of the Church itself, and in the centricity of the composition, the hierarchical ordering of the parts of the temple, subordinate to the central under-dome space.

In patristic interpretations, the temple is also likened to the image of God.

Thus, the three-part structure of the temple corresponds to the trinity of God.

The otherworldliness of God and the Church is expressed in the forms of the temple, which are different from the forms of residential and other structures for earthly purposes.

The altar represents the image of Paradise, the spiritual world, the divine side in the Universe.

The middle part of the temple is the sensory world.

In it stand the faithful who, upon receiving the divine Grace poured out in the Sacraments, become redeemed, sanctified, partakers of the Kingdom of God.

If the altar contains the divine principle, then in the middle part of the temple there is the human principle, which enters into the closest communion with God. And if the altar received the meaning of the supreme sky, “Heaven of Heaven,” where only God dwells with the heavenly ranks, then the middle part of the temple means a particle of the future renewed world, a new heaven and a new earth in the proper sense, and both of these parts enter into interaction in which the first enlightens and guides the second. With this attitude, the order of the Universe, disrupted by sin, is restored.

The iconostasis, separating the altar from the middle part of the temple, expresses the idea of ​​the closest and inextricable connection between the sensory and spiritual worlds through the prayerful help of the celestials depicted on the icons.

Zones of different heights in the middle part of the temple also receive the interpretation of the Holy Fathers: the upper zone means the visible sky, with the lamps depicting stars, the chandeliers - the circles of the planets. The lower zone means earth.

The porch is a symbol of the unjustified, sinful world.

The Old Russian temple ends with an onion-shaped head.

If the flat Byzantine dome above the temple resembles the vault of heaven above the earth, and the Gothic spire of a Catholic church expresses the desire of the soul upward, to heaven, then the Russian onion dome resembles a fiery tongue, symbolizing the idea of ​​​​the prayerful burning necessary for every Christian to unite with God.

Sometimes a temple is built in the form of a cross as a sign that the Church, that is, the assembly of believers in Christ, receives salvation thanks to His atoning Sacrifice on the Cross.

The round shape of the temple symbolizes the eternity of the Church, since a circle, which has neither beginning nor end, is a symbol of eternity.

The oblong shape of the temple in the form of a ship means that the Church, like a ship, saves us in the sea of ​​life. The mast in the center of the ship is vertical, going to the dome and cross above the temple. The “sails” supporting the dome of the temple with the Evangelists depicted on them, who proclaimed the Word of God to the world, are sails attached to the mast of the ship, filled with the Spirit of God and leading the ship-Church to the quiet pier of the Kingdom of Heaven.

3.Internal structure of the Temple

The symbolism of the temple explains to believers the essence of the temple as the beginning of the future Kingdom of Heaven, puts before them the image of this Kingdom, using visible architectural forms and means of pictorial decoration in order to make the image of the invisible, heavenly, divine accessible to our senses.

Like any building, a Christian temple had to satisfy the purposes for which it was intended and have premises:

· clergymen performing divine services,

· for the praying faithful, that is, already baptized Christians;

· for the catechumens (i.e., those just preparing to be baptized), and the repentant.

Accordingly, just as in the Old Testament temple there were three sections “holy of holies”, “sanctuary” and “courtyard”, so from ancient times the Christian temple was divided into three main parts:

· altar,

· the middle part of the temple, or the “church” itself,

· porch

The altar is the most important part of the temple, intended for the clergy and the persons who serve them during worship. The altar is an image of Paradise, the spiritual world, the divine side in the Universe, it denotes heaven, the dwelling of the Lord Himself.

“Heaven on Earth” is another name for the altar.

Due to the especially sacred significance of the altar, it always inspires mysterious reverence and upon entering it, believers must bow to the ground, and persons of military rank must remove their weapons.

The most important objects in the altar: the Holy See, the altar and the high place. Conclusion

The Byzantine church used symbol as the main category, unlike antiquity, where the basics were measure, harmony, and mimesis. It was the symbol, the image, the likeness that the Church of Rus' adopted from Byzantium. But the architects also made many changes in the symbolism of the church.

Bibliography

1. Great Soviet Encyclopedia. - M.: Publishing house "Soviet Encyclopedia", 1974

2. Danilets A. article “Orthodox Temple as a synthesis of arts”, 2013

Likhachev D.S. Notes about Russian. M., 1984.

Religious studies: textbook. manual and textbook minimum dictionary. - M.: Gardariki, 2002.

Soviet historical encyclopedia. - M.: .: Publishing house "Soviet Encyclopedia", 1965. T. 8.

Federal Agency for Education State Educational Institution of Higher Professional Education Ural State Technical University - UPI Department of "Construction Production and Real Estate Expertise" lecture "Byzantine Architecture"

Shchur E.Z. “Pages of cultural history” - 1998.

Slide 2

Goals and objectives:

• Introduction to the temple synthesis of arts
• Spiritual and moral education, Orthodox education
• Mastery of all the riches of native culture, characteristic of a comprehensively developed personality
• Introducing to the culture of the small Motherland