Народные основы художественного оформления культовых храмов Беларуси на рубеже XIX—XX столетий
| Author |
|---|
Шауро, Григорий |
| Date | Issue | Start Page | End Page |
|---|---|---|---|
2005 | 1 | 90 | 93 |
Среди многочисленных памятников истории и культуры Беларуси важное место занимают архитектурные памятники прошлого и, в первую очередь, сооружения культового и гражданского назначения: церкви, костёлы, монастыри, замки, городские ратуши и т.д. Следует отметить, что многие из них претерпели самые жестокие испытания не только времени, но и различные исторические катаклизмы, войны, идеологические перегибы, социальные и общественные перестройки.
The paper deals with a wooden church interior decoration of the end of the 19th – beginning of the 20th century Belorus, presenting a sample analysis of St. Michael Church in Tymkovitch, Minskaya oblast. The aesthetics of church interior spaces is a unique phenomenon in Belorus, as well as in decorative arts generally. Using rich Belorussian folk traditions, the famous painter František Bruzdovič, together with local masters carried out a grand project of monumental church decoration, demonstrating the inexhaustible possibilities of cooperation between the two art forms in the solution of an aesthetic task. There are not many cult buildings that would host an interior of similar artistic solution in either Belorus or other foreign countries. It is worth mentioning that Tymkovitch church interior decoration combines elements of metal and textile, which creates an atmosphere of sophistication and protuberance. The paper notes that at the end of the 19th – beginning of the 20th century, together with new tendencies and influences of Western European art, many Belorussian artists became active defenders and promoters of folklorism in national culture. National art was raised to the highest level, enriching in this way the professional art and national culture in general. The decoration of Tymkovitch church presents a notable example of cooperation between the two art forms, it anticipates the possibilities of Belorussian applied arts and ways of their further development together with the rich forms of folk expression.