Russian painting of the 9th-14th centuries. Painting and architecture in the XIV-XVI centuries in Russia

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Domostroy

Due to the fact that it was necessary to raise the prestige of the new state, official literature was created, which regulated the spiritual, legal and everyday life of people. The largest work of that century was written by Metropolitan Macarius - Great Cheti - Pshnya (readings for every day) - a 12-volume collection of books. It was intended for personal reading. It actually absorbed all the literature existing in Rus', including heretical literature, and subjected it to religious and edifying only.

Domostroy is the norm of religious and ethical behavior in Everyday life. This included rules for raising children and advice on housekeeping. The compiler of Domostroy is priest Sylvester. Although Domostroy was a collection of tips on housekeeping, it was written artistic language and became a literary monument of the era.

Painting of Rus'

Despite some decline in the development of the country, Russian painting reached its peak by the 14th - 15th centuries. In modern literature, this period is assessed as the Russian revival. At this time, a series of wonderful painters were working in Rus'.

At the end of the 14th and beginning of the 15th century, the painter Theophanes the Greek, who came from Byzantium, worked in Novgorod, Moscow, Serpukhov and Nizhny Novgorod. He perfectly combined the Byzantine tradition and the already formed Russian one. Sometimes he worked in violation of the canons. His images are psychological, his icons convey spiritual tension. He created the painting of the Church of the Savior on Ilyen Street in Novgorod, together with Semyon Cherny - the painting of the Moscow Church of the Nativity of the Virgin Mary (1395) and the Archangel Cathedral (1399).

The great Russian artist who worked during this period is Andrei Rublev. He is a master of laconic but very expressive composition. An amazing picturesque color is visible in his works. And in his icons and frescoes one can feel the ideal of moral perfection. At the same time, he was able to convey the subtle emotional experiences of the characters. He participated in the painting of the old Annunciation Cathedral in the Kremlin (1405) together with Theophan the Greek and the prokhor from Gorodets, and painted the Assumption Cathedral in Vladimir (1408). Trinity Cathedral in the Trinity-Sergius Monastery and the Spassky Cathedral of the Andronikov Monastery (1420). His brush is the masterpiece of world painting - the Trinity icon.

At the end of the 15th century, the outstanding icon painter Dionysius made a huge contribution to the development of Russian painting. He was an excellent calorist and a very complex master. Together with his sons Feodosius and Vladimir as well as other students, he created frescoes of the Assumption Cathedral of the Kremlin. Among his creations was the famous icon of the Savior in Power.

At the same time, the Novgorod icon painting school also operates. It is distinguished by its bright colors and dynamic composition.

Architecture of Rus'

In the 14th-16th centuries, due to the centralization of the state, Moscow was decorated (under Ivan Kalita, stone construction developed). Under Dmitry Donskoy, the white stone Kremlin was first erected. During the yoke, a series of old Russian churches are being restored. Thanks to additions and reconstructions, there is a tendency towards the crystallization of the Russian national architectural style based on the synthesis of the traditions of the Kyiv and Vladimir-Suzdal lands, which in the future became a model for subsequent construction in the late 15th and early 16th centuries.

On the advice of Sophia Paleolog, masters from Italy were invited. The purpose of this is to display the power and glory of the Russian state. The Italian Aristotle Floravanti traveled to Vladimir and examined the Assumption and Demetrius Cathedrals. He successfully managed to combine the traditions of Russian and Italian architecture. In 1479, he successfully completed the construction of the main temple of the Russian state - the Assumption Cathedral of the Kremlin. Following this, a granite chamber was built to receive foreign embassies.

The appeal to national origins was especially clearly expressed in the stone architecture of the traditional Russian tent style, so characteristic of the wooden architecture of Rus'. Masterpieces of the tent style were the Church of the Ascension in the village of Kolomenskoye (1532) and the Intercession Cathedral on Kremlin Square in Moscow. That is, its own architectural style appears.

§ 27. Architecture and painting in the XIV-XVI centuries

Architecture in the XIV-XV centuries. At the end of the 13th century, stone construction resumed in Rus': the Cathedral of the Transfiguration of the Savior was built in Tver in the image of the Vladimir Assumption.

In the 14th century, Novgorod became one of the centers of stone construction. Temples were built here that became classic examples of the Novgorod style - the Church of Fyodor Stratilates and the Church of the Savior on Ilyin Street. In contrast to the harsh external appearance of the Novgorod churches of the 12th-13th centuries, these churches amaze with the lightness, elegance and solemnity of their forms. The facades were decorated with decorative niches with fresco paintings, triangular depressions, and sculpted crosses.

Large construction was carried out in Novgorod in the first half of the 15th century. In 1433, German and Novgorod craftsmen built the Faceted Chamber in the Kremlin, intended for ceremonial receptions and meetings of the Council of Gentlemen. Some Novgorod boyars built themselves stone chambers.

The architecture of Pskov, which finally separated from Novgorod in the middle of the 14th century, was also distinguished by its originality. Since the Pskov land was located on the outskirts of Russia, defense architecture received significant development here. In 1330, the Izborsk fortress was built near the city, which became one of the largest military structures in Russia. In Pskov itself, a large stone Kremlin was erected, the total length of the walls of which was about nine kilometers. The entire architecture of Pskov had a fortress appearance, the buildings were stern and laconic.

In the second quarter of the 14th century, stone construction began in Moscow. Four stone churches are being built in the Moscow Kremlin: the Assumption and Archangel Cathedrals, the churches of Ivan Lestvich and the Savior on Bor.

Evidence of the growing political power of Moscow was the construction of the white stone Kremlin in 1367. On the eve of the Battle of Kulikovo, the Assumption Cathedral was built in Kolomna, which was larger in size than all Moscow churches. The buildings were created in the spirit of the traditions of Vladimir architecture, which was intended to emphasize the idea of ​​​​the continuity of the capital position of Moscow from Vladimir.

Formation single state put Moscow in a special position. It turned into the capital of the Russian state; it housed the residence of the Grand Duke of All Russia. This required a corresponding change in her appearance. Moscow becomes the center of Russian architecture. Architects from Italy and the best craftsmen from all over Russia were invited here. The Italians brought a new building material - brick - at the end of the 15th century. The Italian architect Aristotle Fioravanti built the first brick factory in Rus'. Under the leadership of the Italians, Russian craftsmen built brick walls and towers of the Moscow Kremlin, the Assumption and Archangel Cathedrals, and the bell tower of Ivan the Great. The most majestic building, rising in the very center of the Kremlin, was the Assumption Cathedral. The idea of ​​this building belonged to Ivan III, who demanded the creation of the most impressive cathedral in Russia. Moreover, he suggested that Fiora-vanti take the famous Assumption Cathedral in Vladimir as a model. The chronicler expressed the impression of a Russian person from this “church”: “That church was very wonderful in its majesty, and height, and lightness, and ringing, and space, such had never been seen in Rus' before, except for the Vladimir Church.”

However, brick did not completely replace white stone, from which foundations were still laid and details were cut out to decorate the facades of buildings. Marco Ruffo and built the Faceted Chamber in the Kremlin. The outside of the chamber was lined with white faceted stones, from which it got its name. The Faceted Chamber was intended for ceremonial receptions and celebrations.

The Moscow Kremlin, created as the ceremonial residence of the Russian Grand Dukes, became a symbol of their power, evidence of the success of the Moscow princes in collecting Russian lands and liberation from Horde rule.

Architecture of the Moscow State in the 16th century. Complex political events and economic processes that took place in the Russian state also affected the development Russian culture. The growth of cities, which occurred primarily in the newly annexed territories, led to increased attention to issues of urban planning and architecture. Strengthening the central government and giving it autocratic features required the appropriate design of the capital of the Russian state. The best craftsmen moved to Moscow from all over the country. Special bodies appeared to deal with issues of the architectural appearance of the capital - the City Order, the Order of Stone Affairs. Moscow becomes the center of Russian architecture. New architectural styles and trends appear here. Even the most remote cities are guided by the tastes of Moscow.

The appearance of the Moscow Kremlin is changing. Almost all boyar estates were removed from its territory, and artisans and merchants were evicted. Trade and diplomatic missions appear here foreign countries, as well as government institutions - Printing and Embassy courtyards, buildings of orders are being built.

But the artistic merits of architecture were especially evident in church buildings. The capital's stone architecture absorbs the traditions of Russian folk wooden architecture. The result of this process was the emergence of the tent style in Russian architecture. An outstanding monument of tent architecture was the Church of the Ascension in the village of Kolomenskoye, erected in 1532 in honor of the birth of Vasily III the long-awaited heir - the future Ivan the Terrible.

The Intercession Cathedral, erected in 1555-1560 in close proximity to the Kremlin, is rightfully considered the pinnacle of Russian architecture. (It is also called St. Basil's Cathedral after the famous holy fool buried near its walls.) It was built in honor of the capture of Kazan by Russian troops. This temple, amazing in its beauty, was built by Russian masters Barma and Postnik. The idea of ​​the temple is simple: just as Moscow united the Russian lands around itself, so the huge central tent of the temple unites the colorful diversity of its eight separate domes into a single whole.

Russian painting of the 14th century. Theophanes the Greek. The flourishing of Russian painting began in the 14th century. Feofan the Greek, who worked first in Novgorod and then in Moscow, made a great contribution to its development. He came from Byzantium to Rus' in the 70s of the 14th century as an already famous painter and gave all his skills to his new homeland. One of best works The master is a fresco painting of the Novgorod Church of the Savior on Ilyin Street.

The religious subjects of Theophanes the Greek were executed in a manner unusual for Byzantine painting; they showed the master’s interest in the character and inner world of a person. He boldly experimented with colors and painted the figures of saints in such a way that they did not look frozen in a certain pose, but as if in motion. Such an original creation is the icon of Our Lady of the Don. The dark cherry color scheme, in which this image was traditionally created, was enlivened by the master with a bright cornflower blue headband. The very faces of Mary and the Child are painted with energetic strokes of blue, green and red. Never before has the Holy Virgin appeared so spiritual and earthly.

In Moscow, Theophanes the Greek painted the Church of the Nativity, the Kremlin tower of Grand Duke Vasily I, and created frescoes for the Archangel Cathedral. However, his main creation was the creation of the iconostasis for the Annunciation Cathedral. Iconostases as a unique cultural phenomenon appeared in Russian churches at the end of the 14th century (Byzantine culture did not know such large iconostases).

The Russian iconostasis was part of the interior decoration of the temple. The icons, placed in several rows, formed a high wall separating the altar from the rest of the room. The icons were arranged in strict order. In the bottom row was an icon of the saint or holiday in honor of which the church was built. This was followed by a series of icons, in the center of which Christ was depicted, and on the sides in prayer poses were the Mother of God, John the Baptist, as well as the apostles, archangels, and saints. The Annunciation iconostasis contained 25 icons created in Theophanes' workshop.

Russian painting of the XV-XVI centuries. Andrey Rublev. At the end of the 14th and beginning of the 15th centuries, the Russian national school of painting took shape in Moscow. Its most prominent representative was the brilliant Russian artist Andrei Rublev. He was a monk of the Trinity-Sergius and then the Spaso-Andronikov Monastery. In 1405, Andrei Rublev, together with Theophan the Greek and Prokhor from Gorodets, painted the walls of the Annunciation Cathedral in the Moscow Kremlin. In 1408, he and Daniil Cherny worked on the frescoes of the Assumption Cathedral in Vladimir, and then they decorated the Cathedral of the Trinity-Sergius Monastery with frescoes.

Rublev’s most famous work is the “Holy Trinity” icon, painted for the iconostasis of the Trinity Cathedral. He first depicted the Holy Trinity in the form of three beautiful young men - angels, sitting at a table under the shade of a large oak tree, having a leisurely, friendly, but very sad conversation. During the difficult years of princely strife and Horde raids, Andrei Rublev managed to reflect in painting the dream of the Russian people about peace, harmony, tranquility and mutual love.

In Rublev’s work, the process of separating Russian painting from Byzantine art receives its logical conclusion. Rublev and his followers finally abandoned Byzantine severity and asceticism. In his works, he created images of living people, conveying the emotional experiences and moods of Russian people of that time.

Russian painting, as in previous centuries, developed mainly within the framework of icon painting and temple painting. The main place where new ideas and painting techniques were born was the Moscow Kremlin.

The largest representative of the Moscow school of painting of the late 15th - early 16th centuries was the noble prince who became a monk - Dionysius. He painted part of the icons and frescoes of the Assumption Cathedral of the Moscow Kremlin. Dionysius's works were distinguished by their sophisticated designs, refined and delicate colors. They are permeated

a mood of solemn festivity, bright joy. On the icons of Dionysius, the faces of the saints were framed by drawings that depicted individual episodes of their life path.

During the reign of Ivan IV, subjects reflecting real historical events were increasingly included in religious painting.

In the middle of the 16th century, a huge four-meter-long icon-painting “The Militant Church” was painted in Moscow, dedicated to the capture of Kazan. It depicts the solemn procession of the victorious Russian army led by Ivan IV. Among the warriors are Prince Vladimir Svyatoslavich with his sons Boris and Gleb, Alexander Nevsky, Dmitry Donskoy and other famous warrior princes. Archangel Michael flies ahead on a winged horse. In the center is the figure of the Byzantine Emperor Constantine with a cross in his hand. The army meets the Mother of God and Child. The intention of the work is quite obvious - to interpret military success as a result of patronage heavenly powers, and the feat of Russian soldiers as a victory of Orthodoxy over the “infidel infidels.”

Thus, the XIV-XVI centuries are a time of revival and further development of Russian stone architecture, the formation of a national painting school.

QUESTIONS AND TASKS

1. What features were characteristic of Russian architecture in the XIV-XV centuries?

2. What was the significance of the construction of the Moscow Kremlin? How did its appearance change in the 16th century?

3. Tell us about the masterpieces of Russian architecture of the 16th century.

4. What creative reasons do you think could have prompted Theophanes the Greek to leave Byzantium and settle on Russian soil? What are character traits his painting style?

5. What is evidence of the emergence of a national school of painting in Russia?

DOCUMENTATION

RUSSIAN HISTORIANS OF THE EARLY XX CENTURY ABOUT

Andrei Rublev was born on the verge of two eras. If the 11th, 12th and 13th centuries in the history of Russian art are a period of borrowing, then the 14th century marks the beginning of the heyday of Russian icon painting on a nationally distinctive basis. From Byzantium they adopted: elegance of form, subtlety of lines, correctness of drawings, in a word, the technique of ancient icon painting. The content was truly Russian and original. A distinctive feature of Andrei Rublev’s work is a sublime, love-filled desire for a distant spiritual principle, which was generally a distinctive feature of Old Russian icon painting of that period...

Unlike Byzantine silent writing, Rublev's icons amaze with their extraordinary sensitivity in conveying the internal movements of the human soul.

This feature is striking when you first look at Rublev’s icon “St. Trinity "... Some kind of unearthly enlightenment and a special keenness of the sense of beauty attracts the attention to this icon even of those people who are alien to religiosity. This spirituality, this separation from everything earthly, expresses the original feature of the national Russian spirit, clearly revealed in the work of the reverend icon painter Andrei Rublev.

This icon (“Holy Trinity”) depicts three angels at a meal that, according to the biblical story, was offered to them by Abraham. There is a bowl on the table, and a piece of bread lies next to it, and nothing else - it is clear that this is just a symbol

meal, just a hint of it. The artist deliberately depicted Abraham’s treat in such a simplified manner: he wanted to focus all the viewer’s attention on the heavenly guests. The gentle, slender figures of angels, their bowed heads with thoughtful gazes directed somewhere into the distance, stand out beautifully against the backdrop of a light, bright landscape. Looking at these figures, you really want to pray - there is so much touching, sublime and spiritual in them.

The harmony of lines in this icon is charming. Folds of clothing, rotation of the head and body, position of the hands, consistency of the lines of the human body with the lines of the landscape (trees), inspiration of the content and a charming combination of colors.

(E. Shmurlo)

Questions for documents

1. What are the features of Andrei Rublev’s creativity? How does it differ from the Byzantine school?

2. What do you see as the fundamental difference between Rublev’s creations and paintings with religious subjects by famous Renaissance masters?

Remember new words

TOP STYLE - a type of architectural structure that ends with a high multifaceted pyramid. Yurodivy - a wanderer, an ascetic with the gift of foresight.

Painting and architecture

The following are the characteristic features of the development of painting and architecture.

1. Architecture. XIV-XVI centuries - two centuries of flourishing of Russian architecture between two declines: the ruinous Mongol invasion of the 13th century. and the Time of Troubles at the turn of the 16th-17th centuries. The leading architectural schools at that time were: Novgorod and Pskov in North-Western Russia, Vladimir in North-Eastern Rus'(Moscow became its successor), but in general there is a synthesis, a mixture of architectural schools. Two main trends have emerged in the development of two main architectural directions:

• new features in church and temple architecture: a departure from the previously dominant cross-dome style begins; one of the manifestations of this departure was the emergence of the hipped style (for example, the Church of the Ascension in Kolomenskoye and the Intercession Cathedral on Red Square in Moscow, built under Ivan IV, and the Intercession Cathedral on Red Square in Moscow, better known as St. Basil's Cathedral, which was erected in 1555-1561 by the architect Barma Postnik 1 in honor of the capture of Kazan);
• widespread construction of stone kremlins. The first and largest stone city fortress in North-Eastern Russia was the Moscow Kremlin, which was rebuilt from stone twice: in 1366-1368. its walls (instead of the oak ones built under Ivan Kalita) were built of white stone, and in 1485-1499. the walls and towers of the Kremlin were built from burnt red brick (by Italian craftsmen

Pietro Solari, Aristotle Fioravanti, Mark Fryazin, etc.). At the end of the 15th - beginning of the 16th centuries. the same Italian architects updated and partially created the internal ensemble of the Moscow Kremlin, which included the Assumption Cathedral (Aristotle Fioravanti, 1475-1479) - the main temple of the Moscow state (place of royal weddings and coronations), the Archangel Cathedral (Aleviz the New, or Aleviz Fryazin, 1505-1508), built the Chamber of Facets (Pietro Solari and Mark Fryazin, 1487-1491), the bell tower of Ivan the Great (architect Bon Fryazin). At the end of the 16th century. architect Fyodor Kon erected the white stone walls of the White City in Moscow and the Smolensk Kremlin. In the 16th century Kremlin fortresses were also built in Nizhny Novgorod, Kazan, Astrakhan, Tula, Kolomna and other cities.

1. Painting. By the XIV-XV centuries. refers to the flourishing of Russian icon painting: iconostases appear in Russian monasteries, Russia becomes the center of Orthodox icon painting, at this time the best icon painters create their icons - the Byzantine master Theophanes the Greek (icon of the Don Mother of God), as well as Russian masters Andrei Rublev (master of the Moscow, or Vladimir-Suzdal . -Sergius Monastery), Dionysius (master of the late 15th – early 16th centuries, author of paintings and icons of the Joseph-Volokolamsk Monastery, Ferapontov Monastery near the city of Kirillov, part of the icons and frescoes of the Assumption Cathedral of the Moscow Kremlin) and his son Theodosius (paintings of the Annunciation Cathedral Moscow Kremlin, 1503) (Fig. 18.1).

In 1586, a remarkable masterpiece of Russian weaponry was created: the master of the Moscow Cannon Yard, Andrei Chokhov, made the Tsar Cannon with a caliber of 890 mm.

Dionysius_

Painting of the XIV-XVI centuries.

Occurred in painting difficult process merging local schools into an all-Russian school. There is not only a rethinking of local characteristics, but also an orientation towards modern Byzantine painting that does not always coincide with canonical models. One of the earliest monuments of monumental painting are frescoes cathedral Snetogorsky monastery V Pskov (1313 ). One of the artists who had a huge influence on the development of Russian icon painting was Feofan the Greek, who worked in Rus' in the early 15th century.

Theophanes the Greek. Transfiguration of Jesus Christ before the disciples on Mount Tabor. About 1403

At the turn of the XIV-XV centuries. Russian is taking shape in Moscow national school of painting, there was a flourishing of fine art art- a kind of “Pre-Renaissance”, which never developed into a revival, unlike Italy and other countries Western Europe in the Renaissance. Domestic icon painters appeared, among whom stood out Andrey Rublev. An outstanding phenomenon in Old Russian art presents the work of the master Ambrose, who worked in Trinity-Sergius monastery

Andrey Rublev. Icon

In his work, like that of Andrei Rublev, the ancient tradition. In the XV-XVI centuries. an icon-painting school is emerging Dionysius. After the ruling Stoglavy Cathedral FV-MY 1551 icon painting was regulated, the organization of workshops began to train icon painters in canonical writing. In icon painting of the 16th century. comes the expansion of paintings that become illustrations lives of saints, parables, chants. Painting of the Golden Chamber of Moscow Kremlin (1547-1552 ) along with biblical stories is dedicated to the events of Russian stories.

Folding icon. Master Ambrose. 1456. Fragment

In painting, the official “Godunov” school and the “Stroganov” school coexist (Stefan Arefiev, Emelyan Moskvitin, Fyodor and Istoma Savina, Procopius Chirin). (The Stroganov school was characterized by fine detail, sophistication of design, and signature icons).

Benefits Byzantine Empire Ancient Rus' Lives of Saints Icon

Moscow art developed from the traditions of pre-Mongol painting of North-Eastern Rus' in the 13th century. and fresh artistic influences that came from Byzantium with the Greek Metropolitan Theognostus, who was also an artist.
Theophan the Greek played a great role in the development of Moscow painting in the early 15th century.

Theophanes the Greek. Our Lady of the Don. OK. 1392 Tretyakov Gallery.
From the local row of the Annunciation Cathedral of the Moscow Kremlin.
Traditional type – Tenderness. A scene of tender caressing between mother and child.
The melodiousness of lines and deep sonority of color:
dark cherry maforium of Our Lady,
her intense blue cap,
baby's tawny shirt, covered with gold lines,
All this adds charm to a slightly gloomy image.
There is a legend that this icon was with Dmitry Donskoy on the Kulikovo Field.
The iconographic tradition is present, but it is greatly reduced and simplified.

In the summer of 1405, Theophanes the Greek, together with two Russian masters - Prokhor from Gorodets and Andrei Rublev, painted the Moscow Annunciation Cathedral.

Icons from the ancient iconostasis made by these masters were found in the cathedral, although experts believe that they were moved here from another temple after a big fire in the Kremlin in the 16th century.

It is believed that Theophan the Greek painted the central part of the Deesis - the image of Christ, the Mother of God and John the Baptist.

The icons of the festive order, located above the Deesis, are attributed to Prokhor from Gorodets and Andrei Rublev.

Dormition of the Mother of God. Icon of the festive rite of the iconostasis of the Annunciation Cathedral in Moscow.
The iconostasis of the Annunciation Cathedral is the oldest surviving Russian iconostasis.

Andrey Rublev. 60s 14th century? – 1427/30.
Monk of the Moscow Andronikov Monastery.
The years of Rublev's creative formation were filled with the joy of his first major victory and the anticipation of the impending final liberation of Rus'. This determined the nature of his painting.
His work was influenced by his collaboration with Theophanes the Greek. But Rublev is rather the opposite of Feofan’s creative personality.

Rublev. Apostle Paul. Icon from the Deesis rite of the Assumption Cathedral on Gorodok in Zvenigorod. Beginning 15th century

Anticipates the angels of the Trinity, but there is a density of volumes, an energetic pattern of folds and the brightness of colored fabrics, which later acquire lightness and ethereality.

In 1408, Andrei Rublev and Daniil Cherny (?) with assistants painted the Assumption Cathedral in Vladimir.

Andrei Rublev and his assistants create the iconostasis for this temple.
Andrey Rublev, Daniil Cherny and the workshop. The middle part of the Deesis order: Archangel Michael, the Mother of God, the Savior in Powers, John the Baptist, Archangel Gabriel.
The artists faced a difficult task - to create a grandiose iconostasis in big temple. This explains the size of the icons, which are striking in their monumentality.
The figures are executed with great laconicism, the faces are serious and thoughtful. The coloring is based on a combination of bright and pure tones.

Rublev. Saved. Icon from the Assumption Cathedral on Gorodok in Zvenigorod. Beginning 15th century Tretyakov Gallery
The canon of Russian spiritual beauty.
Serene peace and boundless mercy.
What emanates from him is not severity, not unearthly greatness, but kindness and sincerity, close to people.

Rublev's name became a symbol of Russian medieval painting and culture in general. The peak of this culture was A. Rublev. Trinity Icon. OK. 1411. Written by Rublev “in memory and praise” of the founder of the Trinity Monastery, St. Sergius of Radonezh (1314/1322 - 1392). Written by order of the Trinity-Sergius Monastery.
The external plot side is the visit of three angels to Abraham and Sarah.
The figures form a circle. The feeling of harmony comes from the plasticity of lines and color: dark golden wings, lightly emphasized by blue, softly stand out against a golden background (almost lost). The greenish mountains and the olive crown of the tree were amazingly combined with the gold background. The colors of clothes sound more intense.
The unity of the Divine is the unity of people.

The centralization of the state under Ivan III and the normalization of life created conditions for the development of culture. The art of this time is imbued with ideas about the harmony of the world and its ideal structure.
The largest representative of the Moscow school of painting of the late 15th century. - Dionysius.
Dionysius. OK. 1440 – after 1503.
Unlike Rublev, he was not a monk, but was highly educated. His two sons were painters and helped their father.
Dionysius and other masters perform the iconostasis and altar barrier of the Assumption Cathedral in the Moscow Kremlin.

Dionysius. Alexey is a man of God. Altar barrier of the Assumption Cathedral of the Moscow Kremlin. 80s 15th century

Dionysius. He is happy about you.
Bright colorful combinations of Mary's dark cherry silhouette, with pale pink, golden ocher and blue spots create a festive, solemn impression.

The Cathedral of the Nativity of the Virgin Mary has exterior facade paintings.

The pinnacle of the great master’s creativity is Dionysius. Icon of the Crucifixion from the Pavlo-Obnensky Monastery. Tretyakov Gallery
Christ is placed on a high hill, surrounded by a large empty space - the Calvary cross seems to hover above the world. This meaning is expressed:
in the light coloring of the icon, where an abundance of sparkling white is combined with lemon yellow and pink;
in the melodiousness of lines outlining long, thin figures.

conclusions

Differences in icon painting schools of Moscow painting 2nd half. 14th – 15th centuries:

Theophanes the Greek – 2nd half. 14th century Powerful, harsh, emotionally rich pictorial language. Monumentality, expression of forms and lines. Rich, contrasting color. Bold images that violate iconographic schemes.

Andrey Rublev – con. 14 – beginning 15th centuries Perfection of plasticity and softness of lines. Elaboration of forms. Amazingly complex and harmonious coloring, a combination of subtle color gradations and soft contrast.

Dionysius - con. 15th century Developed the direction taken by Rublev. Plasticity of line, elongated proportions. Delicate, soft coloring, creating a festive and solemn impression. Light shades of beautiful pinks, golden ocher blues and greens.