Title of the article:

FORMATION OF THE ARCHITECTURAL ENSEMBLE OF THE NOVODEVICHY MONASTERY UNDER THE REIGN OF THE PRINCESS SOPHIA ALEKSEEVNA. ON THE ROLE OF THE ROYAL ORDER IN RUSSIAN CHURCH ARCHITECTURE OF THE LATE 17^TH CENTURY

Author(s):

Natalia A. Merzlyutina

Information about the author/authors

Natalia A. Merzlyutina — PhD in Arts, Leading Researcher, the Department of the History of Architecture and Urban Planning of the Ancient World and the Middle Ages, Research Institute of Theory and History of Architecture and Urban Planning, Dushinskaya St., 9, 111024 Moscow, Russia.
ORCID ID: htpps://orcid.org/0009-0007-8600-9805
E-mail: merzlutina@mail.ru

Section

History of Arts

Year

2024

Volume

Vol. 74

Pages

pp. 209–236

Received

July 20, 2024

Approved after reviewing

August 20, 2024

Date of publication

December 29, 2024

DOI:

https://doi.org/10.37816/2073-9567-2024-74-209-236

Index UDK

726.03

Index BBK

85.113(2)

This study is based on research supported by the Program of Fundamental Research of the Russian Academy of Architecture and Construction Sciences and of the Ministry of Construction, Housing and Utilities of the Russian Federation, 2024, topic 1.1.1.4.

Abstract

The paper examines the architectural ensemble of the Novodevichy Monastery, the initiator of the construction of which was Tsarevna Sofya Alekseevna. Thanks to the initiative of the Princess Regent in the 1680s, a magnificent complex appeared on the outskirts of the capital, marking the entry into the heyday of the last Old Russian style, which later received the name “Naryshkin” from experts. Each building, having its own typological prehistory, is a key monument of a certain iconographic line within the new style, which later becomes a role model, sometimes not only in monastic, but also in patrimonial and rural buildings, demonstrating the important role of the royal order in the formation of a new style. Both in the three-dimensional solutions and in the decoration of the churches, there is a consistent combination of their own artistic tradition and innovative techniques learned by the masters from Western European printed samples, engravings. The author of the artistic program of the architectural ensemble could be Princess Sophia herself, as well as her associate Prince V.V. Golitsyn. In the ensemble of the Novodevichy Monastery, we are dealing with “talking” architecture with direct borrowings of three-dimensional solutions and decorative forms from the structures of the predecessor of the regent, Tsar Fyodor Alekseevich, as well as from the Kremlin buildings of different times.

Keywords

Novodevichy Monastery, Tsarevna Sofya Alekseevna, Church Architecture, Royal Construction.

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