The historian of art Lion Masil Sanchez explained what was happening in the modern church architecture of Russia, and showed six options for its development
The church architecture of Russia differs from secular primarily by the fact that in the 1990s it began with scratch. The temples were not built in the country for 70 years, and the attitude towards the churches had to be developed actually - as well as to the church itself. The main focus was the construction of temples in the same forms that were before the revolution. These forms were different, and not all were selected.
The main landmark is the forms of the ancient Russian architecture, mainly from the XII to the XVI century. Such beloved by the recent years of age before the revolution of the 18th century is less popular - not least due to the lost skill of the production of high-quality parts. Baroque and classicism are actually rejected as not sufficiently Orthodox.
IN lately In fashion, the unquesty style is the architecture of the beginning of the twentieth century, the epoch of modernity, scenicly imitated ancient Russian. The forms of modern architecture in the temple architecture of Russia are not allowed, although they meet in foreign Orthodox architecture - the truth is not mainstream. All searches still occur inside the traditionalist paradigm, along the combination of historical elements and (recently increasingly) "Condisciplinary" of buildings - that is, in the ways passed by the church architecture of Europe in the XIX and the first half of the XX century. In this sense, from the point of view of the architecture itself, Russian temples are not able to embody a meaningful modern artistic image and are still representing only confessional and ethnographic interest. However, given the 70-year-old pause in the development of the normal religious life of the country, there is hope that gradually the idea of \u200b\u200bthe church itself and the attitude towards church art will change, the latter will be able to leave the ghetto of historicism and offer architectural images filled with new meanings.
1. Holy Vladimir Skece of the Valaam Monastery (2006-2007, the author's team of Andrei Anisimov, architects Tatyana Efimova and Natalia Balenova)
Photo of Ierie Maxim Massalina. year 2009 Wikimedia Commons / Ieria Maxim MassalineThe large-scale sample of eclectic architecture, created on the basis of the forms of medieval Novgorod and Pskov (single altars, bellows, etc.) with the addition of elements of the Moscow architecture of the XVI century (tent) and the unquestous style (helmet dome). Details are rough, the composition is led away, there is no iconographic design - architectural quotes that generate new meanings. Exceptionally abundant products of the Anisimov Workshop can be called the official mainstream of modern church construction.
2. Temple of Peter Apostle in St. Petersburg (2005-2009, according to the project Andrei Lebedev)
Photo of Anton Cucushina. year 2012 Flickr.com/anton kukushin. Among the buildings in the spirit of the Neorussian style is highlighted by an expressive silhouette, an original composition and a reasonable degree of generalization of parts. Can stand in a number of decent (but not at all the best) samples of pre-revolutionary unquestous style; Almost the limit of achievements of modern retrospectivism. The only thing that the temple is accurately deprived is an interesting iconographic design; Alas, in Russia it is almost not to meet.
3. Temple of faith, hopes, love and mother of their Sofia in Kirov (1997-2003, according to the project Evgeny Skopina)
Photo Gregory Sysoeva. 2007 year Grigory Sysoev / Tass Very interesting from the point of view of the plan. First, a bold triangular composition (several triangular temples in terms of temples was built in Russia in the era of classicism). It may refer to the correlation of each of the feathers with one of the martyrs, and the central volume with their mother. Secondly, appeal to the topic of the local type of the church of the Baroque era. It is wonderful and in the sense of appeal to those considered many "non-eructable" epoch, and in the sense of interest in the local heritage. The lack of the latter, unfortunately, should not be surprised. After the brilliant heyday of regional artistic traditions in the XVIII century, the whole country outside Moscow and St. Petersburg turned into a 19th century into the province living only with metropolitan landmarks, and remains still. Overcome such a long tendency is difficult. And the more goodbye to see the construction, indicating the preservation of a sense of regional intrinsicity.
4. Temple rev. Serafima Sarovsky in Bilibina (2003-2009)
wikimapia.org/TAZik
At one time, he became famous thanks to the original and unique in the courage (albeit not by success), the artist's decision proposed by the Moscow artist Vitaly Melnichukuk. Local conservative bishop Diomid refused to consecrate the temple.
From the point of view of architecture, it is modest, but curious as an example of appeal to local traditions. It is true, less recognizable than in the previous case, is the image of a typical wooden Siberian church of the XVIII-XIX centuries: a squat, type "eight of the fourteen", whitewashed for similarity with stone. That is, exactly what could be built on this earth.
5. Church of Nicholas Wonderworker in the pit (2003-2004, Architect Elena Shapovalova)
Wikinedia Commons / Thule
The only modern Russian temple that can be called really good architecture. One minus, however, immediately noticeable: the unsuccessful connection of the side heads with the roofs of the main tent.
Built as a monument to those who died on the construction of a White Coon, passing for the temple. In general, the building resembles a typical building for the Russian North. True, a non-standard completion type is used: lateral tents in wooden northern temples have never been diagonally from the main thing. The main volume is resolved original: it repeats the unique forms of the cathedral Solovetsky Monastery And at the same time, as he had in camp times. The effect is enhanced by the coarse surface of the concrete. The theme of the Gulag is picked up by a belfry resembling a camp tower. The combination of sneak-colored logs and concrete is well suited and a memorial theme, and the image of the Northern Temple. Concrete surfaces unexpectedly put this church in a row with the famous temples of the European modernism - the 100-meter temple of Auguste Perret in Havre, Capella Le Corbusier in Ronzhan, the Sacre Course Cathedral in Algeria and others. It is unlikely that this association has been specifically meant - but there is a property of the present work of art that it can say a lot more that the creator invests in it. So, the temple in the pit - it seems to be the only one in modern Russiawhere a complex iconographic idea finds a decent artistic embodiment. Others still failed to find.
6. Project Chapel for Russian North (2013, the authors of Ivan Countrymen and Daniel Makarov)
The project of the missionary church ιχθςς Daniel Makarova. 2011 Daniel Makarov / CC-Qc.ru And one example of paper architecture. The authors placed the chapel at the Big Zayak Island of the Solovetsky Archipelago, among primitive stone labyrinths. A rare example of a building that is not oriented with historical forms. Nevertheless, the image is recognizable as a temple and correctly catches the genius of the place. This is not a good luck (there is something to do), but about the proposed version of the search for searches.
(12 votes: 4.67 out of 5)© G. Kalinina, Avt.-Cost.
For the blessing of Archbishop
Tiraspol and Dubossarsky
Justinian
Temples are consecrated by the bishop or, with its permission, priests. All temples are dedicated to God and the Lord invisibly present his grace. Each has its own private name, depending on the sacred event or person, in the memory of which it is consecrated, for example, the church of the Nativity of Christ, the temple, in honor of St. Trinity, in the name of St. Equal to the Apostles Constantine and Elena. If there are several temples in the city, then the main one is called "Cathedral": the clergy of various churches is going to the solemn days, and the divine service is made by the Cathedral. The Cathedral at which the Bishop's Department is called "Cathedral".
The emergence of the temple and its architectural forms
The device of the Orthodox church is based on a centuries-old tradition, ascending to the first temple - a tent (tabernacle), built by the Prophet Moses for one and a half thousand years before the Nativity of Christ.
Old Testament Temple and Different Laughing Items: The altar, the semots, the censer, the vestments of the priests and others - were made on revelation over. Do everything as I show you and the sample of all the vessels of it; So make them, "said the Lord Moses. - Put the skill in the sample, which was shown to you on the mountain (here is in mind the mountain Sinai. And 26, 30).
After about five hundred years after that, Tsar Solomon replaced the portable tabernacle (tent church) with a magnificent stone temple in Jerusalem. During the consecration of the temple, the mysterious cloud went down and filled it. The Lord told Solomon: I sanctified this temple and there will be my eyes and my heart there in the eyelids (after chapter, 1 paralypse. 6-7 chapters).
For ten centuries, from the time of the reign of Solomon before the time of life of Jesus Christ, the Jerusalem Temple was the center of religious life for the entire Jewish people.
The Lord Jesus Christ attended the Jerusalem Temple restored after the destruction and prayed in him. He demanded a reverent relation to the temple from the Jews, leading to the words of the Prophet Isaiah: My house will be called a house of prayer for all nations, and expelled from the Temple of those who behaved in it unworthy (;).
After the descent of the Holy Spirit of the Apostles, following the Savior, we also visited the Old Testament Temple and prayed in it (). But at the same time they began to complement temple worship by special Christian prayers and sacraments. Namely, on Sunday Days (in the "Day of the Lord"), the apostles with Christians gathered in the homes of believers (sometimes in the premises of the premises - Ikosakh) and they prayed there, they read the sacred Scripture, "refracted bread" (they made the Eucharist) and communched. Thus arose the first home churches (). Later, during persecution from the pagan rulers, Christians gathered in the catacombs (underground rooms) and there they made a liturgy on the coffins of martyrs.
In the first three centuries of Christianity, due to constant persecution, Christian temples were rare. Only after announcement by the emperor of freedom of religion, in 313, Christian temples began to occur everywhere.
At first, the temples had the form of basilica - oblong quadrangular room with a small protrusion at the input (portist, or porch) and rounding (apse) at the opposite side of the side. The internal space of the basilica was separated by rows of columns into three or five offices called "nefami" (or ships). Middle Nethe was above the side. Upstairs it was suitable windows. Basilica differed abundance of light and air.
Soon, other forms of the temple began to occur. Starting from the V century in Byzantium, the temples of the cross-shaped form with a vault and a dome over the middle part of the temple began to build. Rarely built round or eight-marched temples. Byzantine church architecture provided big influence At the Orthodox East.
Simultaneously with the adoption of Christianity in Russia, Russian church architecture arises. Her characteristic feature is the device of the dome reminiscent of the candle flame. Later, other architectural forms appeared - in the West, for example, Gothic style: Temples with high spiers. Thus, the appearance of the Christian temple was created by centuries, acquired in each country and in each era of his unique appearance. Temples from ancient times decorated cities and villages. They became a symbol of spiritualized world, the prototype of the upcoming update of the universe.
Architecture of the Orthodox Church
The Orthodox church in the historically established forms means primarily the Kingdom of God in the unity of the three of its regions: the divine, heavenly and earthly. From here the most common three-part division of the temple: the altar, the temple itself, and the imposition (or a meal). The altar marks the area of \u200b\u200bthe existence of God, actually the temple - the area of \u200b\u200bthe mountaingelist in the world (spiritual sky) and the imposition - the area of \u200b\u200bearthly existence. Sanctified by a special rank, crowned with a cross and decorated with sainted images, the temple is an excellent sign of all the universe headed by God's Creator and the Creator.
Appearance of the temple
After the ascension of Jesus Christ on the sky, the apostles and the first Christians in Jerusalem, following the Savior's example, were in the temple, they glorified and blessed God (.), Synagogues of Jews were visited - and on the other hand, they made their own Christian meetings on private homes (). Outside and on Jerusalem Christians committed worship in their house churches. Because of the proceedings, the liturgical meetings of Christians became increasingly secret. For prayer, in general, and especially to commit the sacrament of communion, the Christian gathered in the houses of rich cohesives. Here, the room was usually allocated to the prayer, the room most distant from the external entrance and street noise, called the IKOS in the Greeks, and the Romans "ecos". According to the appearance of "ICOS", they were repulsed (sometimes two-story) rooms, with columns along the length that sometimes delivered ICOS into three parts; The average Space of Ikos was sometimes higher and wider lateral. During the persecutions, Christians were going for prayer even to underground churches, which arranged in the so-called catacombs (which will be said to be subsequently). In the same places and in the same periods, when there were no persecutions, Christians could build and built their own individual temples (from the end of the II and the beginning of the III century), however, sometimes we were destroyed by the prize of persecutors.
When, by the will of St. The equivalent king of Konstantin (at the beginning of the IV century), the persecution of Christians finally stopped, then the Christian temples appeared everywhere and amounted to not only the necessary belonging of Christian worship, not only the best decoration of every city and settlement, but the national treasure and the shrine of each state.
Open Christian temples from the III-VI centuries. Accept a certain external and inner form or appearance, namely, a somewhat resembling the ship's form of an oblong quadrilateral with a small protrusion when entering and rounding on the opposite side of the party. The inner space of this quadrangle was divided into three columns, and sometimes five separates called "nefami". Each side departments (neo) also ended a semicircular protrusion, or apse. Middle nave was above the side; In the uppermost part of the middle Nafa, the windows were arranged, which, however, sometimes on the outer walls of the lateral milbs. From the side of the entrance was the opposition, called the "entrance" (or Narfix) and "Bork" (porch). The abundance of light and air is noticed inside. Distinctive features The plan and architecture of such a Christian temple are, starting from the IV century: separation of non-oil, apse, the entry, an abundance of light, internal columns. The whole church is called church basilica or longitudinal temple.
Another reason why Christians began to build their temples in the form of an oblong quadrilateral (divided into parts, with apsides), was the worship of the catacomb and the churches in them.
Catacombs are called dungeons in which Christians in the times of persecution, in the first three centuries, were buried their dead, hid from persecution and committed worship. A network of intertwining corridors or galleries represent a network of intertwining corridors or galleries, during which more or less extensive rooms are found. Going one of the corridors, you can meet another corridor, crossing the path, and then in front of the traveler are three roads: right, right and left. And for no matter what direction does not go further, the location of the corridors is the same. After a few steps along the corridor, a new corridor is found or a whole room from which several new ways leads. Traveling over these corridors more or less for a long time, you can imperceptibly for yourself, go to the next floor. Corridors of narrow and low, the rooms occurring on the way, of various sizes: small, medium and large. The first are called "Cubicul", the second - "Crypt", and the third - "Capell". Cubiculas (from the word Cubiculum - bed) were funeral scleps, and crypts and chapels - underground churches. Here, during the persecutions, Christians committed worship. Crypts could accommodate up to 70-80 praying, and the chapels are much large quantity - Up to 150 people.
In relation to the needs of Christian worship, the front of Kripte was intended for the clergy, and the rest for the laity. In the depths of the crypt, there was a semicircular apse, separated by a low lattice. In this apse, the tomb of a martyr was arranged, which served as the throne for the commission of St. Eucharist. On the sides of such a throne-tomb, there were places for the bishop, presbyters. The middle part in the crypt did not have special devices. Capella differed from Crypt not only the biggest value, but also inland location. Crypts consist of more part of the room (rooms), and the chapels have several of them. There are no individual altars in the crypts, they are in chapels; In the crypts, women and men prayed together, and in Chapels for women there was a special place. In front of Kripte and Capel, the floor occasionally arranged above the rest of the underground churches. In the walls were arranged for the burial of the dead, and the walls themselves were decorated with sacred images.
From the description of various crypt and chaplain it is clear that those and others had the shape of a quadrangle with oblong protrusions, and sometimes with columns to maintain the ceiling.
The sacred memories of these underground temples, about the Horny district, in which Jesus Christ made his secret in the evening, and about the Ikos, former first Christian temples, (in shape oblong), and perhaps it was the cause of the fact that Christians could be frillless, without fear of disagreement with the church of the antiquity and the spirit of the Christian faith, to build on the same longitudinal model and their temples. But undoubtedly, the basilica was alleged for the Christian church, that it was still the only suitable form. Basic style dominated V c. Then she changed with "Byzantine", but after the XV century. It applies again to the former Byzantine Empire, impoverished under the rule of the Turks, without acquiring, however, nor greatly nor the value of the ancient Christian Basilica.
The basic view of Christian temples was ancient, but not the only one. When the architectural tastes changed and the art of architecture stepped forward, changed and appearance Temples. After the cessation of persecution of Christians and transferring the capital of the Greek empire from Rome to Byzantium (324), construction activities intensified here. At this time, the so-called Byzantine style of temples was formed.
Distinctive features of the Byzantine style are "Arch" and "Dome". The beginning of the dome-shaped structures, i.e. Such, the ceilings of which are not flat and plotters, and round, refers to the times of prechristian. The extensive use of the semicode was given in Roman baths (or terms); But the most brilliant development of the dome received gradually in the temples of Byzantium.
At the beginning of the IV century, the dome was still low, covered the whole top of the building, and relied on the wall walls, did not have windows, but then the dome becomes higher and installed on special columns. The walls of the dome to facilitate gravity are not made solid, but interrupt with light columns; Between them, windows are arranged. The whole dome resembles a wide heavenly arch, the place of the invisible stay of the Lord. With the external and inside, the dome is decorated with speakers with artistic tops or capitals and other decorations; Instead of one dome, sometimes several domes are satisfied with the temple.
The plans of Byzantine temples were the following: in the form of a circle, in the form of an equilateral cross, in the form of a rectangle close to the square. The square form was made by the usual and most common in Byzantium. Therefore, the usual building of Byzantine temples is presented in the form of four massive pillars set on a rectangle and connected at the top of the arches, on which the arch and dome rest. Such a view from the 6th century became the dominant and remained so until the end of the Byzantine Empire (up to half of the XV century), replaced, as it said, secondary basic style.
The inner space of the Byzantine temple was divided, as in the basilica, for three parts: the adder, the middle part and the altar. The altar was separated from the middle part with a low colonnade with a cornice replacing the modern iconostasis. Inside rich temples were in abundance of mosaic and scenic images. The glitter of a variety of marbles, mosaic, gold, painting, - everything was directed toward the soul of a praying Christian. The sculpture was a rather rare phenomenon here. The most brilliant flourishing of the Byzantine style in general and the Byzantine dome in particular, found in the Konstantinople church of St. Sophia.
Byzantine style was applied during the construction of not only temples in Byzantium or Constantinople, but also in other important cities of Greece (Athens, Soluni, on Athos), in Armenia, in Serbia, and even in the cities of the Western Roman Empire, especially in Ravenna and Venice. The monument of Byzantine architecture in Venice is the Church of St. Mark.
Roman style
In addition to the Byzantine-basic type in the Western Christian world, a new appearance of churches, having, on the one hand, similarities with basilicists and Byzantine temples, and on the other hand, the difference is the so-called "Romanesque style". The temple built in the Romanesque style is similar to basic, consisted of a wide and oblong ship (nefa), concluding between two side ships, twice as long as height and width. From the Eastern, the front side to these nefams was attracted to the transverse ship (called a test), protruding with its edges from the corps and, therefore, informing the globe's shape around the building. Behind the transmitted, as in Basilica, apse, intended for the altar. From the back, the western side was still suitable for the focus or drugs. Features of the Romanesque style: Paul was put on the apsides and anewn higher than in the middle of the temple and the columns of various parts of the temple began to be connected with a semicircular arch and to decorate in the upper and lower ends with carved, stucco and overhead images and figures. Romanesque temples began to be built on a solid foundation, which left the Earth. At the entrance to the temple on the sides of the G. Sometimes they were organized (from the XI B) two majestic towers, reminding modern bell tower.
Romanesque style, appearing in the X century, began to spread in the West in the XI and XII centuries. and existed until the XIII century. When it was replaced by a gothic style.
Gothic and Renaissance
Gothic temples are differently called "fitting", because in their plan and external decoration, although they resemble Romanesque temples, but differ from the last sharp, pyramidal, pulling to the sky with tips: towers, pillars, bell tower. Pointedness is noticed in the inside of the temple: vaults, joints of the columns, in windows and angular parts. Gothic temples were particularly distinguished by the abundance of high and frequent windows; As a result, there were few squares for sacred images on the walls. But the windows of the Gothic temples were covered with painting. This style is the most pronounced in the outer lines.
After the Gothic style in the history of the church architecture of Western Europe, there is still a rebirth style. This style has spread to Western Europe (Starting from Italy) from the XV century. Under the influence of the revival of "ancient, ancient-classical knowledge and art." Having become acquainted with the ancient Greek and Roman art, the architects began to apply and in building temples, some features of ancient architecture, even carrying sometimes to the Christian temple of the form of pagan temples. The effect of antique architecture is especially noticeable in external and internal columns and decorations of newly under construction of temples. A comprehensive embodiment of the Renaissance was found in the famous Roman Cathedral of St. Peter. The general features of the Renaissance architecture are the following: the plan of temples - a continuing quadrangle with a transpondent and altar apse (similarity with a romance style), vaults and arches are not pointed, but round, dome-shaped (difference from the gothic, similarity with the Byzantine style); The columns are internal and external ancient Greek (characteristic features of the rebirth style). Decorations (ornaments) in the form of leaves, colors, figures, people and animals (the difference from the Byzantine ornament borrowed from the Christian region). Sculptural images of saints are also noticeable. Saints sculptural images are most clearly separated by the Renaissance style from the basic, Byzantine and Orthodox-Russian style.
Russian church architecture
Russian church architecture begins together with the statement of Christianity in Russia (988). Taking faith, clergy from the Greeks, and everything necessary for worship, we simultaneously borrowed from them and the shape shape. Our ancestors took the baptism of the age when the Byzantine style was dominated in Greece; Therefore, our ancient temples are built in this style. These temples were built in the main Russian cities: in Kiev, Novgorod, Pskov, Vladimir and in Moscow.
Kiev and Novgorod temples are reminded by the plan of Byzantine - a rectangle with three altar semicircles. Inside the usual four columns, the same arches and dome. But with the great similarity between the old Russian temples and the modern Greek among them, there is a noticeable difference in the domes, windows and decorations. In the multi-pop Greek temples, the dome was put on special pillars and at different heights compared to the main dome - in Russian temples, all the dome was put on one height. The windows in the Byzantine temples were large and frequent, and in Russians are small and rare. Cuts for doors in Byzantine temples were horizontal, in Russians - semicircular.
In Greek large temples, two constructs were sometimes suitable - internal, intended for announced and swing and outer (or porch), tinted with columns. In Russian temples, even large, alone inner pellets were arranged. In the Greek temples, the columns constituted the necessary supplies in both internal and external parts; In Russian temples, due to the absence of marble and stone, the columns were not. Thanks to these differences, some specialists, the Russian style is called not just Byzantine (Greek), but mixed - Russian-Greek.
In some temples in Novgorod, the walls end up at the top of a pointed "tongs", like a forceps on the roof of a rustic hut. Stone temples in Russia were few. Wooden churches, due to the abundance of wood materials (especially in the northern localities of Russia), it was much more and in the construction of these churches, Russian masters showed more taste and independence than in the construction of stone. The shape and plan of vintage wooden churches represented or a square, or a loyal quadrilateral. The dome was either round, or tower, sometimes in large quantities and diverse values.
A characteristic feature and the difference between Russian domes from Greek domes is that a special chapter was arranged over the dome, resembling a bulb. Moscow temples before the XV century. We were commonly built by masters from Novgorod, Vladimir and Suzdal and reminded the temples of the Kiev-Novgorod and Vladimir-Suzdal architecture. But these temples are not preserved: they or finally died from time, fires and Tatar destruction, or rebuilt in a new form. Other temples, built after the XV century, are preserved. After liberation from the Tatar yoke and the strengthening of the Moscow state. Starting from the reign of the Grand Duke (1462-1505), foreign builders and artists and artists who, with the leadership of church architecture and the leadership of the Old Russian Traditions of church architecture have come to Russia and caused. The main of them are the Assumption Cathedral of the Kremlin, where the sacred coronation of Russian sovereign (the builder Italian Aristotle Phioravanti) and the Arkhangelsk Cathedral - the tomb of the Russian princes (the builder Italian Aloyizia).
Over time, Russian builders produce their own national architectural style. The first type of Russian style is called "tent" or pillars. It is a view of several separate churches connected to one church, from which each has the appearance of a pillar or a tent, topped with a dome and chief. In addition to the column massiveness and columns in such a temple and large number The head in the form of bulbs, the peculiarities of the "tent" temple are the film and the variety of paints of the outer and inner parts. The sample of such temples are the church in the village of Dyakov and the Church of Basil Blessed in Moscow.
The time of the distribution of the "tent" species in Russia ends in the XVII century; Later it is noticeable to this style and even prohibiting it from the spiritual power (maybe, due to the difference from His historical - Byzantine style). In recent decades of the XIX century. Awakes by the revival of this type of temples. This form creates several historical churchesFor example, the Trinity Temple of the St. Petersburg Society for the spread of religious and moral education in the spirit of the Orthodox Church and the Temple of the Resurrection at the place of the kingdom of the Tsar-Liberator is "Savior-on-blood".
In addition to the "tent" species, there are still other forms of national style: elongated in the quadrilateral embroidery (cube), as a result of which the upper and lower churches are often obtained, a two-storey shape: a quadrangle bottom and octagonal at the top; The shape formed by the layering of several square log cabins, from which each overlying is already under the underlying. In the reign of Emperor Nikolai I for the construction of the military churches in St. Petersburg, the architect K. Ton is the same style, called the "tonovsky" style, an example of which the church of the Annunciation in the equestrian guard regiment can serve.
From Western European Styles (Romanesque, Gothic and Renaissance) When building Russian churches, only the Renaissance style has been applied. The features of this style are seen in the two main cathedrals of St. Petersburg - Kazan and Isaac. Other styles are used when building an innovative churches. Sometimes in the history of architecture, the mixture of styles - basic and the Byzantine, or Romanesque and Gothic will notice.
In the XVIII and XIX centuries, the "house" churches, suitable in the palaces and houses of rich people, with educational and government agencies And with the ridicians. Such churches can be brought together with the ancient Christian "Ikos" and many of them, being rich and artistically painted, are repository of Russian art.
The meaning of ancient temples
Outstanding historical temples Each state is the first source for judgment about the nature and history of various types of church art. They were most bright and definitely expressed, on the one hand, the care of the government and the population on the development of church art, and on the other hand, the artistic spirit and creativity of artists: architects (in the field of church construction), artists (in the field of painting) and spiritual composers (in the field of church singing).
These temples, of course, are the first source, from where the artistic taste and skill differs from all parts of the state. The views of residents and travelers with interest and love stop at slender architectural lines, on the sacred images, and the hearing and feeling they hit the dying singing and the spreeless actions of the service performed here. And since most of the historical Russian temples are connected with the great and sacred events from the life of the Church, the state and the reigning house - then these temples will be and towering not only artistic, but also a patriotic feeling. These are Russian temples: Assumption and Arkhangelsky Cathedrals, the Pokrovskaya Church (Cathedral of Vasily Blessed and the Church of Christ the Savior in Moscow; Alexander Nevsky Lavra, Kazan, St. Isaac, Petropavlovsky and Smolny Cathedrals, the Temple of the Resurrection of Christ - in St. Petersburg, the temple in the boards near Kharkov on the spot Wonderful salvation royal family During the train crash, October 17, 1888 and many others.
Regardless of the historical causes of the origin of various forms of the Christian temple, each of them of these forms is symbolic, resembling any invisible sacred side of the Church and the Faith of Christian. Thus, the basic oblong shape of the temple, similar to the ship, expresses the idea that the world is the world's life, and the church is a ship that can safely twist this sea and achieve a quiet pier - the kingdom of heaven. The cruciform view of the temple (Byzantine and Romanesque styles) indicates that the Cross of Christ is put on the basis of society. Round view reminds that the Church of God will exist infinitely. The dome - clearly reminds us of the sky, where we must rush to thoughts, especially during prayer in the temple. The crosses on the temple were clearly reminded that the temples are designed to glorify the crucified Jesus Christ.
Often on the temple are not built alone, but several chapters, then two chapters mean two natural (divine and human) in Jesus Christ; Three chapters - three faces of St. Trinity; Five chapters - Jesus Christ and four evangelists, seven chapters - seven sacraments and seven Universal Councils, nine chapters - nine Chinners of Angel, thirteen chapters - Jesus Christ and twelve apostles.
Above the entrance to the temple, and sometimes next to the temple, the bell tower or bells are built, that is, the tower where the bells hang.
The bell ringing is used to convene believers on a prayer, to worship, equally, in order to undoubted the most important parts of the service performed in the temple. Slow ringing to the largest bell is called "Blagovest" (benevolent, joyful news of worship). Such a ringing is used before the start of worship, for example, in front of the vigil or liturgy. The ringing into all the bells, expressing Christian joy, about the solemn holiday, etc., called "sober". In the pre-revolutionary time in Russia, they sore throughout the Easter week. Alternate sad ringing in different bells is called the chime; It is used in burial.
The bell ringing reminds us of sending, the heavenly world.
"The ringing of bells is not just a gong, convening people to the church, but a melody, spiritualizing the neighborhood of the temple, reminiscent of prayer to those who are working in labor or is on the way, who is immersed in the monotony of everyday life ... Bell ringing is a kind of musical preaching The threshold of the church. He announces the faith, about life, penetrated by her light, he wakes up the conscience. "
Altar
The history of the altar of the Orthodox church dates back to those early times of Christianity, when in the catacomb temples under the ground and in terrestrial basilica in the front of the pesting low lattice or columns from the rest of the space, as a shrine, a stone tombs (sarcophagus) with the remains of the Martyr. On this stone tomb in the catacomb, the sacrament of the Eucharist was committed - the implementation of bread and wine into the body and blood of Christ.
In the remains of the Holy Martyrs from ancient times, the foundation of the church was seen, its cornerstone. The tomb of the martyr for Christ symbolized the coffin of the Savior himself: the martyrs therefore died for Christ that they knew that they would resurrect in him and with him. "Yako Lynoryee, Yako Paradise, the most beautiful, truly and the pacologist in a tsarskago showing the light, Christ, the coffin, the source of our resurrection." In this prayer made by the priest on the transfer of the proposed saints of gifts to the throne, the symbolic meaning of the Holy See as the coffin of the Lord, who at the same time marks himself and the heavenly paradise, since he became the source of our resurrection, marks the illness of the heavenly king who has the power to resurrect people And "judge alive and dead" (symbol of faith). Since the throne is the most holy place, for which there is an altar, there is an extent that said about the throne belongs to the altar as a whole.
Nowadays in the antimone, the saints are certainly present on the throne. The real remains of celestialists, thus, establish the direct and direct connection of the throne and the altar of the earthly church with the Church of Heaven, with the kingdom of God. Here, the earthly inextricably and closely conjured with heavenly: under the heavenly altar corresponding to our throne, Saint John the Bologosov saw the souls of the killed Word of God and for the testimony they had (). Finally, a bloodless victim, bringing on the throne, as well as the fact that the body and blood of the Savior in the form of spare gifts are constantly stored on it in the form of spare gifts, makes the altar of the greatest shrine.
Naturally, over time, the altar with a holy throne became increasingly separated from the rest of the temple. In the catacomb temples (I-V centuries. According to R. X.) there were already saline and altar barriers in the form of low lattices. Then the iconostasis with royal and side doors arose.
The word "altar" comes from the Latin "Alta Ara", which means an elevated place, elevation. In Greek, the altar in antiquity was called "Bima", which meant an exalted altar, the elevation, from which speakers pronounced speech; The trial from which the kings were led to the people their commands, created the court, distributed awards. These names in general correspond to the spiritual purpose of the altar in the Orthodox church. But they also testify that in the deep antiquity of the Altari Christian temples were arranged at some elevation in relation to the rest of the temple. This is usually respected to this day.
If the altar in general means the region of the existence of God, then the real sign of the most vibrant God is the throne, where God is truly present in the holy gifts.
Initially, the altar consisted of the throne, which was placed in the center of the altar space, the departments (sedelles) of the bishop and the bench for the clergy (alternate place), located against the throne in the wall in the semicircle altar apse.
The offer (the current altar) and the vessel (sacrifice) were in separate premises (5th) on the right and to the left of the altar. Then the offer began to be placed for the convenience of worship in the Altar itself, in its northeastern corner, to the left of the mountain place, if you look from the throne. Probably, in connection with this, several and names of the holy places of the altar have changed.
The throne in antiquity was always called the altar or meal. So called His holy fathers and teachers of the church. And in our officials, the throne is referred to as a meal, and an altar.
In ancient times, the throne was called the bishop sedney at the forelook, which completely corresponds to the earth's importance of this word: the throne is a royal or princely elevated sedator, throne. With the transfer of a sentence on which the preparation of bread and wine for the sacrament of the Eucharist is made, in the altar it began to be called the altar, and the throne became referred to as the mining place; Actually, the altar (trapez) was called the "throne". It is understood that this mysterious spiritual meal is like a throne (throne) of the heavenly king. Nevertheless, in the charter and liturgical books, the altar is still called a proposal, and the throne also begins the name of the meal, as it is built on it and they are taught with the clergy and the believers and blood of Christ. And yet the robust tradition most often knew the holy throne of God.
Nowadays, in accordance with the most ancient traditions, in the eastern wall of the altar on the outside of the temple, the semicircuit is arranged - apse. In the midst of the altar placed the holy throne.
Close to the middle of the altar altar against the throne constructed elevation. In the cathedral of the bishops and in, many parish temples, there is a chair for the bishop, as the sign of the throne (throne), which is invisible to the Almighty.
In the parish temples in the semicircle apcide, the elevation and chairs may not be, but in any case, this place is a sign of that heavenly throne, in which the Lord is invisibly present, and is therefore alive. In large temples and cathedrals, respectively, the altar apse around the mining of the semicircle are bembi for the clergy, serving the bishop. Mind Place is necessarily written during worship; passing, bow, falling by the procession; On the thief, the candle or lamp will certainly be mounted.
Directly in front of the mining place behind the throne is usually placed a seven-minded, which in antiquity was a candlestick for seven candles, and now most often branched to seven branches from one high pillar with a lamp in which there are seven lamps that are fired during worship. This corresponds to the revelation of John the Theologian, who seen seven gold lamps in this place.
To the right of the mountain place and to the left of the throne there is an altar, which is accompanied by anoint. Near it is usually worth the table for believing brothers and notes with the names of people about health and demand.
To the right of the throne, most often in a separate room, a vessel and a sacrifice is located, where the sacred vessels are stored in the restructuring time, the leading of the clergy. Sometimes the rister can be located separately from the altar of the room. But in this case, to the right of the throne there is always a table on which the rises of clergymen are relying for worship. On the sides of the semots, with the northern and southern sides of the throne, it is customary to supply the removal icon of the Mother of God (from the Northern side) and the cross with the image of the Crucifixions of Christ (southern).
On the right or to the left of the throne, the washbasin is placed to wash the hands of the priests in front of the liturgy and the ablution of the mouth after it and the place where Kadylu is mounted.
Before the throne, to the right of the royal gates at the southern doors of the altar, it is customary to put a bishop chair.
The altar, as a rule, has three windows, meaning the incompected Troic Light of the Divine, or three above and below, or three at the top and two at the bottom (in honor of the two nature of the Lord Jesus Christ), or four (in the name of the four-Genia). The altar due to the sacraments of the Eucharist, as it were, he repeats with such a false, eliminated, ready-made doors, where a secret evening was held, inspired and today it is contained in special purity, rushes by carpets, if possible, in every way well.
In Orthodox typicone and service, the altar is often called the sanctuary. It is believed to occur because the ancient church teachers often called the altar by the Old Testament name of the Holy Saints. Indeed, the holy of the Holy Moise Sking and Solomonov of the Temple, as the covenant's ark and other great shrines in themselves, spiritually create a Christian altar, where the greatest sacrament of the New Testament is, the Body and the Blood of Christ are kept in the Daerachnice.
The three-part division of the Orthodox church also corresponds to the division of the tabernacle and the temple of Jerusalem. A reminder is contained at the Apostle Paul in the Message to Jews (9.1-12). But the Apostle Paul only speaks about the construction of the tabernacle, noting that it is not necessary to speak about it in detail, and explains that the skin has an image of the present time, when "Christ, the high priest of future benefits, come with the greatest and perfect tabernacle, unsecutive, That is, not such a dispensation, and not with the blood of Kozlov and Tales, but with its blood, one day he entered the sanctuary and acquired an eternal redemption. " Thus, the fact that the Holy Saints of the Old Testament Temple, the High Priest Judaisky entered only once a year, was transformed by the sibling of the Savior's Redeechnoye Savior. The Apostle Paul stresses that the new tabernacle itself is the Lord Jesus Christ - is not so arranged as ancient.
The new covenant, therefore, should not repeat the devices of the Old Testament Tabernacle. Therefore, in the three-part division of the Orthodox Temple and in the title of the Altar, the Holy Saints should not see the simple imitation of the Moses Tabernacle and Solomon Temple.
And according to its external device, and on the litrolery use of the Orthodox church is so deeply different from them, which one can only say that only the most principle of dividing the temple into three parts is used in Christianity, which has its basis in the New Testament Orthodox dogmaker. The use of the Church teachers The concept of "Holy Saints" in the application to the Orthodox Altar brings him closer with the Old Testament Sanctuary not on the likeness of the device, but with the special holiness of this place.
Indeed, the holiness of this place is so great that in ancient times the entrance to the altar was strictly forbidden to someone from the laity, both women and men. An exception was made sometimes only for Diakonis, and subsequently for Inokin in women's monasteries, where they could enter the altar for harvesting and the ignition of the lamps.
Subsequently, with a special bishop or the organizer blessing to the altar, it was allowed to enter the hepodiakons, readers, as well as alternations from recent husbands or Inokin, the obligations of which include the cleaning of the altar, the ignition of the lamps, the preparation of Cadyl, etc.
In Russia, in antiquity in the altar, it was not customary to keep icons depicting any holy wives, except for the Virgin, as well as the icons on which the images of people who are not counted for the saints (for example, warriors, energifics of Christ or who suffered saints of sufferers for faith etc.).
The Holy See
The holy throne of the Orthodox church marks the imperceptible throne of the Blessed Trinity, the God of the Creator and the Spriverman of the whole, the whole universe.
The throne, as the sign of the single god of the Almighty, which is the focus and the center of all creative being, should be located only in the center of the altar space, separate from everything. The throne leaning against the wall, if it is not caused by any extreme necessity (for example, an overly small dimensions of the altar), would mean a mixing, the drain of God with his creation, which distorts the doctrine of God.
Four sides of the throne correspond to four sides of the world, four times of the year, four periods of the day (morning, day, evening, night), four degrees of the region of Earth Being ( inanimate nature, vegetable world, animal world, human race).
The throne marks himself also Christ of the Almighty. In this case, the quadrangular form of the throne means a four-way, containing all the completeness of the exercise of the Savior, and the fact that all the four sides of the world, all people call for communication with God in the Holy Taine, because the Gospel is preached, according to the Savior, "throughout the Universe, Certificate of all nations "().
Four sides of the throne also marks the properties of the personality of Jesus Christ: he was the Great Council angel, the victim for the sins of the human race, the king of the world, a perfect man. These four properties of Jesus Christ correspond to the four mysterious beings, who saw Saint John theologian on the throne of Christ the Almighty in the temple of Heaven. In the temple, heaven were: Taurus - symbol of the sacrificial animal; Lion is a symbol of royal power and power; Man is a symbol of human nature in which the image and likeness of God is captured; Eagle - the symbol of the highest, mountain, angel nature. These symbols are learned in the church and four evangelists: Matthew - man, brand - lion, Luke - Taurus, John - Eagle. The movements of the star over the Pyphosom, accompanied by the priest's exclamations during the Eucharistic canon, are also associated with the symbols of the four mysterious beings: "angry" corresponds to an eagle, a historical being, with a sinner of God; "Wrappingly" - sacrificent Taurus, "appealing" - Lion, a royal person who heralds his will; "Glazingly" - human being. This movement of the star corresponds to both images of four evangelists with their symbolic animals in the sails on the vaults of the central, bribing part of the temple, where the closest unity of the liturgical, subject, scenic and architectural symbolism of the Orthodox church is particularly clearly visible.
The Holy See marks the coffin of the Lord Jesus Christ, in which his body was resting until the moment of resurrection, as well as the very gentlemen lying in the coffin.
Thus, the throne combines two main ideas: about the death of Christ for the sake of our salvation and the royal glory of the Almighty, squeezing on the ignorable throne. The internal connection of the two submissions is obvious. They rely on the basis of the boss of the consecration of the throne.
This chin is complicated and filled with deep mysterious meaning. Memories of Moses Loking and Solomon Temple in prayers for the consecration of the temple and the throne are designed to witness the spiritual performance in the new Testament of the Old Testament Previews and the union of the sacred objects of the temple.
Most often, the holy throne is suitable as follows. On four wooden pillars height in Arshin and six tops (in modern units of measurement, this height equals approximately 98 cm, so that together with the top board, the height of the throne should be 1 meter) It is assumed to be a wooden board so that its corners are supposed to go to the pillars. with them. The scene of the throne may depend on the magnitude of the altar. If the temple is consecrated by the bishop, between the four pillars in the middle under the throne board, the fifth column is put in the height floor for delivery on it the drawer with the relics of saints. The angle of the upper board, called the meal, in the places of their pairing with pillars are flooded with a raised wax mixture, mastic, a scratched marble powder, Smirns, Aloe, Ladan. On the interpretation of the blissful Simeon, the Archbishop of the Solunsky, all these substances "form the burial of the Savior, since the most meal forms the lively coffin of Christ; Wax and mastic are combined with aromas because these adhesive substances are required here to strengthen and connect the meal with the angles of the throne; In conjunction, all these substances represent the love of us and the connection with us of Christ the Savior, who shifted it even to death. "
The throne is bonded by four nails, marking those nails with which the Lord Jesus Christ was nailed to the cross, is washed by warm consecrated water, red wine with pink water, in a special way the holy world, which marks and climbing the world to Christ the Savior in front of his suffering, and those aromas That was politically the body of it in the burial, and the warmth of the Divine Love, and the graceful gifts of God, the flew to us thanks to the crossed feat of the Son of God.
The throne further goes into particularly consecrated white bottom clothes - Katasarku (from Greek. "Katasarkinon"), which means literally "the release", that is, the clothes closest to the body (in Slavica). It covers the entire throne to the base and marks it with a consuming, in which the body of the Savior was wrapped in a coffin position. Following this, the throne is conclusted with a rattle of about 40 m long. If the consecration of the temple makes the bishop, then the throne is looking to the throne so that it forms the crosses from all four sides of the throne. If the temple is consecrated by the blessing of the bishop by a priest, then we revealed the throne around in the form of a belt in the upper part of it. This Nervie marks himself by the way, who was connected by the Savior, led by the court to the high priests of the Jewish, and the divine power, which holds the whole of the universe, the volume of all the creation of God.
Behind this, the throne immediately goes to the upper, elegant clothes - the Indiatives that translated is clothing. She marks the robe of the royal glory of Christ the Savior as the Son of God, after her saving feat of the Father's glory and the upcoming "judge alive and dead." Thus, it is portrayed that the glory of Jesus Christ, the Son of God, which he had before all times, was directly founded at his extreme humiliation, even to death, during the first coming on the victim he brought himself to the sins of the human race. In accordance with this bishop, making the consecration of the temple, to the cover of the throne of the India, it is cricaishes in Scholchith - white clothes worn over his saint riz. By performing actions that marked the burial of Christ, the bishop, who also marks Christ the Savior, is in clothes, corresponding to the burial loaf, in which the body of the Savior was wrapped in the burial. When the throne dresses clothes of royal glory, then the bidding is removed from the bishop, and he appears in the brilliance of the Saint Reese, depicting the clothes of the heavenly king.
At the beginning of the consecration of the throne, all worldly people are removed from the altar, alone priests remain. Although in the rank of consecration of the temple, it is indicated that this is done in order to avoid interference from the large cluster of people, it also has the other, spiritual meaning. Blessed Simeon, the Archbishop of Solunsky, says that at this time "the altar becomes already in heaven, and the power of the spirit of the Holy Spirit is descended. Therefore, it should be there with one heavenly, that is, sacred, and should not look at anyone. " At the same time, all items that can be transferred from place to place are taken from the altar: icons, vessels, kadyl, chairs. This is depicted that unshakable and still affirmed the throne is the sign of the unrealistic God, which receives its being all that is susceptible to movement and change. Therefore, after the fixed throne is consecrated, all movable sacred items and things are re-entered into the altar.
If the temple was consecrated by the bishop, then under the throne on the middle column before covering the throne with clothes, the mailboxes with the relics of saints of martyrs are relying, carrying from another temple with a special solemnity as a sign of the continuity of the grace of God from before the former to the new one. In this case, in the antimone on the throne, theoretically, the power of the saints could no longer rely. If the temple was consecrated by the Jewel, then the rebuings are not relying, but are present in the antimine on the throne. In practice, antimonds on the throne is always with the relics, even if he was consecrated by the bishine.
After the throne is anointed with the world, it fits in the appropriate sequence in special places and the entire temple, sprinkles with holy water, is playing in the fragrance of Ladan. All this is accompanied by the prayers and singing of sacred chants. So, from the holy throne gets sanctification and the whole building of the temple, and everything that is in it.
The stone tombs of martyrs served in the thrones in the catacombs. Therefore, in the ancient temples, the thrones often made stone, and side walls They were usually decorated with sacred images and inscriptions. Wooden thrones can be construed in one pole, which in this case means one in the essence of God. Wooden thrones can have side walls. Often in such cases, these planes are decorated with decorated salary with the image of sacred events and inscriptions. In this case, the swirls are not dressed. The salaries themselves will be replaced by India. But with all types of the device, the throne retains a quadranique and its symbolic values.
According to the great holiness of the throne to touch him and to subjects, on it lying, it is allowed to bishops, priests and diakons. The space from the royal gates of the altar to the throne, marking the inputs and the exits of the Lord itself, the bishops, priests and diakons are allowed to cross only as they worship. The throne bypass from the east side, by the mountain location.
The throne for the temple is the same as the church for the world. The dogmatic meaning of the throne, as the Cathedral of Christ the Savior, is very clearly expressed in prayer, repeated for the Divine Liturgy twice, - in every day around the throne after anointing and when memories of the burial of Christ, during the transfer of the Holy Gifts from the altar for the throne: "In the tomb of the carnation, In the hell, with the soul of Yako, God, to the paradise with the robber, and on the throne there was Esi, Christ, with Father and Spirit, all the executive, incosited. " This means: Lord Jesus Christ, like God, without ceasing to stay on the heavenly throne of the Blessed Trinity, lay the flesh in the coffin, as the dead man, at the same time went to the soul to hell and at the same time he was in paradise with a prudent robber saved by him, that is, performed by him All the heavenly, earthly and underworld, was present in all the areas of Divine and Creative Being, right up to the darkness of Tomzechnaya, from the hell of which he had expecting his advent of Old Testament, previsory to salvation and forgiveness.
Such an ubiquitous God gives the opportunity to both the saint throne be both the sign and the coffin of the Lord, and the throne of the Holy Trinity. In this prayer, the intact, holistic review of the church on the world as inseparable, albeit unsalted unity in the God of Heaven and Earth Being, in which the ubiquitous Christ is possible and natural.
On the holy throne, except for the top of India and bedspread, there are several sacred items: antiminis, gospel, one or more hand-held crosses, a daochorman, a paddle covering all items on the throne between worships.
Antiminis - quadrangular boards made of silk or linen patterns with the image of the position in the coffin of the Lord Jesus Christ, the guns of his execution and four evangelists in the corners with the symbols of these evangelists - Taurus, Lvom, a man, an eagle and an inscription reporting when, where, for which church And what kind of bishop he was consecrated and taught, and the signature of the bishop and, be sure, with the partition of the saint to another side of his side, since in the first centuries of Christianity, Liturgy was always performed on the tomb of the martyrs.
The antimone constantly contains a sponge for collecting small particles of the Body of Christ and taken out of the disruption of the particles from discos to the bowl, also for exposing the hands and lips of the clergy after communion. It is aimed with vinegar sponge, which was brought to the cane to the tips crucified on the Cross of the Savior.
Antiminis is a mandatory and integral part of the throne. Without antimony, it is impossible to serve as a liturgy.
The sacrament of the implementation of bread and wine into the body and the blood of Christ can only be made on this sacred board. Antiminis is constantly in the rolled state in a special board also from silk or linen matter, which is called orton (Greek. - wrapper, bandage). There are no images and inscriptions on orton. Antiminis unfolds, reveals only at a certain moment of worship, before the start of the liturgy of the faithful, and closes, is coagulated in a special way at the end of it.
If the temple will turn around during the liturgy or if a different natural disaster will threaten the building of the temple, the priest is obliged to make the holy gifts along with Antimonia, deploy it at any convenient place and to finish the Divine Liturgy on it.
Thus, according to its value, antimos is equal to the throne. The image of the burial of Christ on Antimone once again testifies that in the minds of the church the throne there is, firstly, the sign of the coffin of the Lord, and secondly, the sign of the throne of the glory of the Savior's coffin.
The word "antiminis" consists of two Greek words: "Anti" - instead of "myship" - the table, that is, the smelude, is such a sacred subject, which, replacing the throne, is the throne itself. Therefore, in the inscription on it, he named the meal.
Why was it necessary to have antimitimis on an unshakable and stationary throne - his movement and separated from him repetition?
From the V century, after adopting the pagan world of Christianity, in the terrestrial temples of the thrones in the altars were special structures of stone or wood. And in these thrones or under them, in agreement with the ancient custom and his dogmatic meaning, the relics of holy martyrs, carrying out the close relationship between the church of the earth and the Church of Heaven, were certainly assumed.
In connection with the persecution, the need for portable thrones-antimonds, which also believed the relics of holy martyrs.
Going out in long and long-range campaigns, the Byzantine emperors and military leaders had priests with them who committed them to the sacrament of the Eucharist in hiking conditions. In the post-apostolic times, priests, which, under the conditions of time from place in place, performed the Eucharist in different houses and places. Pious people who had the opportunity to keep priests with them, from ancient times, going to distant wanders, took them with themselves, so as not to remain long without the intersection of the Holy Tain. For all these cases, the sincerversion existed portable thrones.
All this confirms the deepest antiquity of the practice of portable thrones (antimensions), but does not explain why the stationary thrones in the temples began to have antifimens as their integral affiliation.
The given rule of the VII of the Universal Cathedral helps to find out this circumstance.
In the IV-VIII centuries. According to R. X. During the acute struggle of the Orthodox Church, the periods were visible when heretics were captured by the Orthodox temples, built their own, then all these temples were again in the hands of Orthodox, and Orthodox reiterated them again. Such transitions churches from hand to hand repeatedly repeated. Already then, for the Orthodox, a certain testimony had to have very important, the certificate that the throne of their temple was consecrated by the Orthodox bishop and for all the rules.
In order to avoid doubts, the thrones should certainly have to have on themselves some kind of visible printing, testifying to which bishop when the throne was consecrated, and that he consecrated him with the position of the relics. Plate plates with the image of the cross and appropriate inscriptions have become such seals. The first Russian antimons of the XII century. confirm it. These ancient antimodes of Russian temples seeded to the schoze or knocked to the throne with wooden cloves. This testifies that in ancient Byzantium, from where this custom, sewn or navigable handkers with inscriptions did not have anywhere else, and certified that the throne is consecrated correctly, with the position of the relics, and about who and when he is consecrated. However, in the VIII - X centuries. In Byzantium, due to the difficulty for the bishops, it was personally consecrated by the multiple temples, a custom aroused the priests to commit the consecration of remote churches.
In this case, it was necessary that the thrones themselves were still sanctifying from the bishop, because canonically the right to sanctify the throne and to believe in it holy relics belongs only to the bishops. Then the bishops began to sanctify instead of the throne who had already traditional plates with certification inscriptions and to believe in them holy power.
Now such a scarf-antiminis (spinthistolis) with stamped in it, consecrated by the bishop, could not be anything other than the throne, the sacred meadow, as it is called to this day. As Antimonis continued to serve first only evidence that the throne is consecrated by the bishop, he sewed to the lower clothes of the throne or nailed to him. In the future, it was conscious that this circuit was essentially an elevated and stationary throne on the throne, and the throne became a consecrated pedestal for antimine. Antimins in connection with its high sacred value acquired a liturgical significance: he began to believe in the throne, to put in a special way and expand when making the sacrament of the Eucharist.
From a spiritual point of view, the presence of movable antimine on a fixed throne means that the Lord God is invisibly present on the throne, who, although inseparable from his creation, but does not merge, does not mix with him, and Antimin with the image of Christ, believed to the coffin , It is evidenced that we worship the throne, as the coffin of Christ, because of him, the source of eternal life, the source of our resurrection. In ancient times, antimons were prepared by the priests themselves who brought them to the bishops for consecration. There were no uniformity in drawings on antiminces. As a rule, the ancient antimons have an image of a four-spin or eight-pointed cross, sometimes with the instruments of the Savior's execution. In the XVII century In Russia, during the Patriarch Nikon, it began to manufacture uniform antimensions. In the future, antimensions appeared, printed by the typographic way and depicting the position of Christ in the coffin.
On top of an alimony folded with or orthton, it certainly assumes the throne of the Holy Gospel, called Handiculous and, which is the same integral belonging to the throne, like Antimonde: With the pressing Gospel, they make entrances to liturgia, on some evenings he is made to the middle of the temple to read or worship him, in the statutory Cases are read on the throne or in the temple, they are autumn the throne is crucifiable at the beginning and at the end of the liturgy.
The native Gospel directly marks the Lord Jesus Christ. Because it contains divine verbs of the Son of God, the forearfish in these words is the same thanks by the greatest way.
The gospel relies in the middle of the throne over the antimone in order to testify to all the way and designate the constant presence of the Lord Jesus Christ in the most important and sacred part of the temple. In addition, without the Gospel, the antimonds himself would not have due to dogmatic completeness, as he portrays the death of Christ and therefore needs such an add-on, which would symbolically meant Christ Risen, always living.
This supplement serves as a hand-held gospel, repeating and completing the symbolism of the upper benevolent India of the throne, meaning the clothing of Christ the Almighty in his heavenly glory as the king of the world. The pressure of the gospel marks himself directly from the heavenly king, squeezing on the throne of fame, on the church throne.
Since ancient times, the pressure of the gospel from ancient times was made to decorate precious covers, gold or silver-fosted overlays or the same salary. On lining and salary from the front side from ancient times, four evangelists were depicted in the corners. And in the middle of the facial part in the XIV-XVII centuries. The crucifixion of Christ with the upcoming, or the image of Christ of the Almighty on the throne, also with the upcoming.
Sometimes salaries had images of cherubs, angels, saints, were richly decorated with an ornament. In the XVIII-XIX centuries. The image of the resurrection of Christ appears on the salary of the Pressolla Gospel. On the back of the gospels, the crucifix, or the sign of the Cross, or the image of the Trinity, or the Mother of God, are depicted.
Since the bloodless victim of the body and the blood of Christ is performed on the throne, then a cross with the image of a crucifier Lord, next to the gospel, be sure to the throne.
Pressulous cross, together with antimone and the gospel, is the third integral and mandatory belonging to the Holy See. The gospel, as containing the words, the doctrine and life of Jesus Christ, marks the Son of God; The image of the crucifixion (hand-held cross) depicts the very peak of the feat of him for the salvation of the human race, the weapon of our salvation, the sacrifice of the Son of God for the sins of people. The gospel and cross make up the completeness of the Divine Truth of the Divine Savior of the Savior of the Savior of the Divine Truth.
What is contained in the words of the Gospel is briefly depicted in the crucifixion of Christ. Along with the words of the Salvation, the Orthodox Church should have the way of salvation, because the image is mysteriously present that he portrays. Therefore, when making all the sacraments of church and many rites, it is necessary to believe in an analog or desk the Gospel and a cross with a crucifix.
On the throne, there are several gospels and crosses: small or demand for the gospels and crosses are on it, as in particular holy place; They enjoy when making the sacraments of the baptism, delight, weddings, confession, and therefore, as needed, they are carried away from the throne and rely on it.
A sprawling cross with a crucifixion also has a liturgical consumption: they have a believing people during the release of liturgy and in other special cases, they are consecrated by water to the Epiphany and with particularly solemn prayers, as provided for by the charter, believers are applied to it.
In addition to antimine, the gospel, the cross as mandatory sacred items that make up an integral belonging of the throne, it is a donochrannik - a sacred subject intended for storing holy gifts.
Daerachler is a special vessel, usually arranged in the form of a temple or chapel, with a small tomb. It is usually done from metal that does not give oxides, is made. Inside this vessel in the tomb or in a special box at the bottom, it is relying prepared by a special way for long-term storage of a particle of the body of Christ, impregnated with blood it. Since the body and blood of Christ cannot have a more worthy place for their storage than the holy throne, they are at him in the darahrantee, consecrated for this with a special prayer. These particles are used for communion at home seriously patients and dying people. In large arrival it may be necessary at any time. Therefore, the darachorman depicts the coffin of Christ, in which his body resting, or the church, as constantly nourishing the faithful body and the blood of the Lord.
The donorochor in antiquity in Russia was called tombs, sion, jerusalem, since they were sometimes models of the Temple of the Resurrection of Christ in Jerusalem.
They had liturgical use: in the XVII century. They were taken out on the great entrance of the liturgy, on the cross moves in the bishops in the Novgorod Sophia Cathedral, as well as in the Assumption Cathedral of the Kremlin in Moscow.
On the thrones, it is also taken to believe and the Darons - small buckets or nodies, most often suitable in the form of a chapel with the door and with a cross upstairs. Inside, the Dami is a box for the position of body particles with the blood of Christ, a small bowl, a lyzica, sometimes a vessel for wine. Daronians serve to transfer the holy gifts to the house of patients and dying people for communion. The great holiness of the contents of Daronositz led to the way of their wearing - on the chest of the priest. Therefore, they are usually made with ears on the sides for ribbon or cord, which should be put on the neck. For Daronositz, as a rule, they sew special bags with a ribbon to wear on the neck. In these bags, they with reverence are transferred to the place of communion.
On the throne there may be a vessel with the holy world. If there are several adhesions in the temple, then the Daronians and vessels with the world should usually rely on the main throne, but on one side of the side.
In addition, on the throne, usually under the cross, there are always boards for exploring the lips of the priest and the edge of the holy bowl after the communion.
Over some thrones in large temples in the old days, the preserved model or kivory, meaning the sky, stretched over the earth, at which the Savior's redemptive feat was accomplished. At the same time, the throne represents the Earth Region of Being consecrated by the sufferings of the Lord, and the Kiivori is the area of \u200b\u200bBeing Bezeny, as if the uniform to the greatest glory and the shrine of what was accomplished on Earth.
Inside the yawi from his middle, a figurine pigeon was often dropped to the throne - the symbol of the Holy Spirit. In antiquity, sometimes in this figure rely on storage spare gifts. Kyivii Therefore, it may be the meaning of the natural tabernacle of God, the glory and grace of God, enveloping the throne as the greatest shrine, on which the sacrament of the Eucharist is committed and who depicts the Lord Jesus Christ the suffering, deceased and risen. The kivori was usually arranged on four pillars standing near the corners of the throne, less often the kivorias suspended to the ceiling. This facility sprayedly decorated. Curtains closing the throne were arranged in the kivory from all sides in the intervals between services.
Cyivia and in antiquity there were far from all temples, and now they are also rare. Therefore, there is a special pelle-cover on the cover of the throne, which are covered by all sacred items on the throne at the end of worship services. This cover marks the secret of the secrets that the shrines are hidden from the eyes of the uninitiated. It means that it is not always, not at any time, the Lord God opens its strength, actions and secrets of his wisdom. The practical role of such cover is clear herself.
On all sides of his foot, the saint throne can have one, two or three steps, marking the degree of spiritual perfection necessary to climb the shrine of the Divine Tain.
Alpine place, semots, altar, sacristic
The location is the place at the central part of the Eastern Wall of the Altar, which is right against the throne. His origin relates to the earliest times of history of temples. In the catacomb crypts and chapels, the department was arranged at this place, which corresponds to the apocalypse of John the Theologian, who saw the throne, sitting on the throne of the Lord of the Almighty, and then the 24 of the sacrifices of God's priests.
From ancient times to this day, especially in big cathedrals, it is cooled in exactly according to the vision of John the Bogoslov.
In the central part of the eastern wall of the altar, usually in Apxida niche, a chair (throne) for a bishop is built on some elevation; On the sides of this sedalent, but below it, benches or seats for priests are arranged.
During the bishops in the statutory cases, in particular when reading the apostle behind the Liturgy, the bishop sends to the meeting, and the clergy losing him is located respectively on the sides, so that in these cases the bishop depicts Christ of the Almighty, and the clergy - the apostles or those older priests who saw John theologian.
The same place in every time is the designation of the mysterious presence of the heavenly king of glory and serve to him why this place always gives the appropriate honors, even if it is, as often happens in the parish temples, and is not issued with an elevation with a sedalent for a bishop. In such cases, only the presence of a lamp at this place is mandatory: lamps, or high candlestick, or both together. With the consecration of the temple, after the throne is consecrated, the bishop is obliged to burn and hoisting the lamp at the mining place.
The world consecration of the sanctified temple begins with the throne on the part of the mountain location, on the wall of which the holy world is drawn by the cross.
In addition to bishops and priests, no one, even deacon, do not have the right to sit on the highlights of the mountain location.
The place of its name was the same place from the saint, called His "High Prepoly" (service life, Chin Liturgy). Gorenia, Slavyansky, means, Vyshny, sublime. Almost the same place, according to some interpretations, it also marks the ascension of our Lord Jesus Christ, who climbed together with the flesh above all the starts and power of the angels, sunken the Odessa God Father. Therefore, the Bishop Department is always above all the other sedals in the mining place.
In ancient times, it was also illustrated in an antiquity "SPORTOL" - a set of throne-sedelles.
Right in front of the throne (sedale) of the Almighty, that is, against the mountain location, John the Bologosov saw seven lamps of the fiery, which are the essence of the seven spirits of God (). In the altar of the Orthodox church, in accordance with this, there is also a special lamp of the seven branches, fortified on one high stand, which is placed on the east side of the meal in front of the mining site - the semots.
The branches of the lamp are now most often a cup for seven lamps or candlesticks for seven candles, as it was usually in the old days. However, the origin of this lamp is unclear. Judging by the fact that nothing is said about him in the rank of consecration of the temple and in the ancient rules, it was considered obligatory only the ignition of two candles on the throne into the image of the Lord Jesus Christ, who knows in two nations, was not known in antiquity as a mandatory belonging of the altar. But the fact that he very deeply corresponds to the "seven lamps" of the Heavenly Temple and currently took a very strong place in church source, forces it to recognize him with a sacred subject, which rightfully included in the number of mandatory church things.
The semots marks the seven sacraments of the Orthodox Church, those of the fertile gifts of the Holy Spirit, which are poured on believers thanks to the atonight feat of Jesus Christ. These seven lights also correspond to the seven Spirits of God sent to the whole land (), seven churches, seven seals of a mysterious book, seven trumpets Angel, seven thunders, seven bowls of God's worst, about whom the revelation of John the Bogoslov tells.
The seven seven universal councils, seven periods of the earth's history of mankind, seven rainbow colors, that is, corresponds to the mysterious number of seven, which laid the basis of many heavenly and, earthly laws of being.
Of all possible correspondences, the seven most important for believers are the correspondence of the seven sacraments of the Church: baptism, world-formation, repentance, communion, ignition, marriage, priesthood as a comprehensive whole fertile means of rescue human soul; From birth to death. The funds of these steel are possible only thanks to the coming to the world of Christ the Savior.
Thus, the light of the gifts of the Holy Spirit, prisoners in the seven sacraments of the church, and the light of Orthodoxy as the creeds of truth, which is, first of all mean the seven lights of the church semots.
The prototype of these seven lights of the Christ church was the Old Testament Lamp of the Seven Light in the Moise Skind, arranged in God's command. Old Testament consciousness, however, could not penetrate the mystery of this sacred subject.
In the northeastern part of the altar, to the left of the throne, if you look east, the wall has an altar, in the liturgical books most often called the proposal.
According to an external device, the altar is almost like the throne. In size, it is either the same with it, or somewhat less.
The height of the altar is always equal to the height of the throne. The altar is climbing in the same clothing as the throne, - the sacrum, the India, covered. Both of their names, this place of the altar received because of ancecdia, the first part of the Divine Liturgy, where the bread and wine proposed for the priesthood is prepared in a special way for the subsequent sacrament of the bloodless sacrifice of the body and the blood of Christ.
In antiquity in the altar, the altar was not. He was arranged in a special room, in the ancient Russian temples - in the northern attack, connected to the altar of a small door. Such features from two sides of the altar to the east were commanded to arrange even apostolic decisions: the North Appeat is to offer (satellite), southern for the vessel (sacristy). Later for convenience, the altar was moved to the altar, and the temples became most often settled in the tares, that is, they put and sanctified the thrones in honor of the sacred events and saints. Thus, many ancient temples began to have one, but two and three thrones, to combine two and three special temples. And in ancient, and in new times, several temples were often created inside one. For ancient Russian history, a gradual extension is characterized by one initial church first one, then two, three and more adhesive temples. The transformation of the supply and vessels in the teaching temples is also a fairly characteristic phenomenon.
The altar is necessarily put the lamp, there is a cross with a crucifix.
In the parish churches that do not have a special vaschers, the horizontulous sacred items covered in sorrefit times, namely, are constantly located in the satellite.
- Sv. Bowl, or Pathrid, in which, in front of the liturgy, the wine is poured with water, and then behind the liturgy, in the blood of Christ.
- Disco - a small round dish on the stand. It assumes bread for sanctifying on Divine Liturgy, for the delight of him in the body of Christ. Disco marks himself at the same time and the mansel and the coffin of the Savior.
- The star consisting of two metal small arcs connected in the middle of the screw so that they can or fold them together or push the cruciate. It puts on the displate so that the cover does not touch the particles taken out of the prosphora. The star marks his star, which was at the birth of the Savior.
- Copy - a knife, similar to a spear, to remove the lamb and particles from prosphora. It marks the copy to which the warrior pierced the ribs to Christ the Savior on the cross.
- Litsea is a spoon used for the communion of believers.
- Sponge or boards - for wiping vessels.
Small covers that are covered separately a bowl and discos are called. The larger cover, covering and the cup and discos together, is called air, marking the air space in which the star, which led the Magi to the Molds of the Savior. Nevertheless, the covers depict the pellens, which Jesus Christ will have at birth, as well as his funeral pellets (Cryboat).
According to the blissful Simeon, the Archbishop of the Solunsky, the altar marks the "poverty of the first coming of Christ - especially the intimate natural cave, where they were nursery," that is, the place of the Nativity of Christ. But since Merry Christmas, the Lord has already been prepared for the godfather, which is depicted on an ambassading of the cross-cutting of the Laman, the altar marks himself, he also marks Calvar, the scene of the Savior's godnoye. In addition, when the Holy Gifts are transferred at the end of the liturgy from the throne to the altar, the altar acquires the importance of the heavenly throne, where the Lord Jesus Christ ascended and silent the Odessa God Father.
In antiquity over the altar, the icon of the Nativity of Christ was always placed, but the cross with a crucifixion was put on the altar. Now, increasingly above the altar, the image of Jesus Christ or Christ, carrying the cross on Calvary, is placed over the altar. However, the first value of the altar is still a cave and nursery and - even more precisely - Christ himself, born in the world. Therefore, the lower clothes of the altar (schooner) is the image of those plains, which hurt the Baby Master of God's preching mother, and the upper benevolent indictment of the altar is the image of the heavenly clothes of Christ the Almighty as King Glory.
Thus, the coincidence of the altar and the throne of different clothes and the throne is not accidentally noticed that the occurrence of a person in this world and the import of it is very similar. The cradle of the baby is similar to the coffin of the dead man, the pellens of the newborn - the white swares of a person who left this life from this life, because the temporary death of the human body, the separation of the soul and body is nothing but the birth of a person in other, eternal life in the field of heavenly being. Hence the altar as the image of a nursery born Christ, in its device and clothes in everything is similar to the throne, as the image of the Holy Sepulcher.
The altar, as a smaller in its meaning than the throne, where the sacrament of the bloodless victim is committed, the relics of the saints, the gospel and the cross are being consecrated only by the sprinkling of holy water. However, since there is ancecia on it and there are sacred vessels, the altar is also a place to be sacred to which it is not allowed to touch anyone except the clergy. Each in the altar is performed first the throne, then the city and the altar, and the icons here. But when the altar is standing on anointing for subsequent liberation bread and wine in the sacred vessels, then after each throne, the altar is performed, and then the same place.
Near the altar is usually put a table for the provision of prosphoders filed by believers and notes about health and rest.
Risnica, otherwise called a diaconnik, was in antiquity in the right, southern attack of the altar. But with the device here, the throne belt was located or here, in the right chapel at the walls, or in a special place outside the altar, or even in several places. Risnica is a repository of sacred vessels, liturgical clothes and books, incense, candles, wines, prosphoras for the nearest service and other items necessary for worship services and various requirements. The spiritually belt first means that the mysterious heavenly treasury, from which the various fertile gifts of God, demanded for salvation and spiritual decoration of the faithful people. For people of these gifts, the people of these gifts are carried out through his angel servants, and the most storage and distribution process of these gifts is the area of \u200b\u200bservice, angel. Angels in church service, as you know, are deacons, which means ministers (from the Greek word "Diaconia" - ministry). Therefore, the sacristy is still the name of the diaconnik. This name shows that the sacrifice does not have an independent sacred-liturgic value, but as if a utility, official and that deacons directly dispose of all sacred subjects when preparing them for service, storage, care for them.
Due to the greatest diversity and differences in the belongings stored in the sacristy, it rarely focuses in a certain place. The sacred rises are usually stored in special cabinets, the vessels are also in the cabinets or on the altar, books on the shelves, other items in the drawers of tables and bedside tables. If the altar of the temple is small and there are no chassions in it, the sacristy is arranged in any other convenient place of the temple. At the same time, they still try to arrange storage facilities in the right, southern part of the church, and in the altar, the southern walls are usually put the table that the rises prepared for the next service are believed.
Picturesque images in the altar
Icon mysteriously contains the presence of who she portrays, and this presence is the closer, thankful and stronger than the more icon corresponds to the church canon. The icon-painted church canon is immutable, unshakable and eternal as the canon of sacred liturgical objects.
How ridiculous it would be, for example, strive to replace the disk in a porcelain saucer on the grounds that in our time they do not eat from silver plates, just as ridiculous striving to replace the canonical icon painting picture in a modern worldly style.
Canonically correct icon by special means symbolically transfers the state of the presented in the light and from the point of view of its dogmatic value.
The icons of sacred events (holidays) show not only and not at all as much as it was, but the fact that this event means in his dogmatic depth.
Similarly, the icons of saints, only in general, transmitting the characteristic features of the human earthly appearance, reflect the characteristic features of spiritual meaning and the state in which the saint is in the light of oblivion in the field of heavenly life.
This is achieved by a number of special symbolic drawing of the image, which are the revelation of God, the inspiration of the Holy Spirit in the God-human process of iconic creativity. Therefore, not only a general view can be canonic in icons, but also a set of visual means.
For example, canonical icon should always be only two-dimensional, flat, because the third dimension of the icon is a dogmatic depth. The three-dimensional space of a worldly painting, where in the plane of the canvas, which is actually only width and height, also see also a certain artificially created spatial depth, it turns out to be illusory, and an icon is invalid because of the nature itself and destination icon.
There is another reason why the illusory depth of a worldly painting cannot be accepted in icon painting. The spatial perspective, according to which the items depicted in the picture are becoming less and less as they are removed from the viewer, it has a logical ending point, deadlock. The imaginary infinity of the space that means here is only the fruit of the artist's imagination and the viewer. In life, when we look into the distance, items gradually decrease in our eyes as the optical geometric patterns are removed due to us. In fact, the closest to us, and the most distant items have their own constant, and the real space thus in a certain sense is really infinite. In the paintings of painters, on the contrary: actually decreases the pictorial sizes of objects, while there is no removal of them from those who look.
Mirous painting can be beautiful in its kind. But the techniques and means of worldly painting, designed to create the illusion of earthly reality, are not applicable in icon painting due to dogmatic features of its nature and destination.
Canonically correct icon should not have such a spatial perspective. Moreover, in icon painting, the phenomenon of the reverse perspective is very often encountered, when some faces or items depicted in the foreground are significantly less than those depicted by them, and long-faced faces are written in large. This happens because the icon is designed to portray in the largest and large size of what actually has the greatest sacred, dogmatic meaning. In addition, the inverse perspective generally corresponds to the deep spiritual truth of life, that truth that the farther we are spiritually climbing in the knowledge of the Divine and Heaven, the more it becomes in our spiritual eyes and the greater becomes importance in our lives. The further we go to God, the more revealed, the region of heaven and divine being in their increasing infinity is expanding for us.
There are no random in icons. Even the ark (the protruding frame, framingly placed in the depths of the image), has a dogmatian meaning: a person who is within the framework of space and time, within the framework of the Earth Being, has the ability to contemplate heaven and the Divine is not directly, not directly, but only when it opens to him God as if from the depths. The Light of the Divine Revelation in the phenomena of the mountainous world, as it diffurs the framework of the earthly existence and shines from the mysterious gave a wonderful radiance, surpassing all the earthly. The earthly earth cannot accommodate heavenly. That is why the Light of the Holy Saints always captures the top of the frame - the ark, it comes to it, no matter how it does not fit inside the plane allotted for the icon painting image.
Thus, the ark icons is the sign of the region of the world, and the icon-painted image in the depths of the icon is the sign of the region of being of heavenly. So inseparably, although in the same way, in the icon, dogmatic depths are expressed in simple real means.
Icon can be without a ark, completely flat, but have a picturesque frame framing the main image; The frame replaces in that case the ark. Icon can be without a ark, and without a frame when the entire plane of the board is busy icon pain. In this case, the icon indicates that the Light of the Divine and Heavenly Mustelus will cover all the areas of being, to deny the earth. Such an icon emphasizes the unity in the god of all things, not mentioning the difference, which also has its own meaning.
Saints on Orthodox icons should be depicted with a nimble - gold radiance around the head, which depicts the divine glory of the saint. At the same time it makes sense and the fact that this radiance is made in the form of a solid circle, and the fact that this circle is golden: the king of glory Lord informs the radiance of his fame and its own, gold shows that this is the God of God. Icon should have an inscription with the name of the holy face, which is a church evidence of the conformity of the image of the prime and the seal, allowing to worship this icon without any doubt as an approved church.
Dogmatic spiritual realism of icon painting requires that in the image there was no game of light and shadows, for God is light, and there is no darkness in it. Therefore, there are no and implied light source in icons. Nevertheless, the persons depicted on icons still have a volume that is indicated by a special hatching, or tone, but not darkness, not a shadow. This shows that although holy faces in the state of the glory of the kingdom of heaven have bodies, but not as we, earthly people, and convertible, purified from gravity, transformed, no longer exposed to death and drainage. For we cannot worship what is subject to death and drainage. We can only be what is transformed by the Divine Light of Eternity.
Canonic in Orthodoxy not only iconographic images taken separately. Certain rules exist in the thematic placement of iconographic images on the walls of the temple, in the iconostasis. Placing images in the church is associated with the symbolism of its architectural parts. And here the canon is not a template for which all temples should sign equally. Canon offers a choice, as a rule, several sacred plots for the same place in the temple.
In the altar of the Orthodox church, there are two images, which, as a rule, are behind the throne from two sides of its eastern part: the recent cross with the image of the crucifixion and the image of Our Lady. The cross is still remote, as it is reinforced on a long river inserted into the stand and is made in particularly solemn cases during the procession. It also works and the remote icon of the Virgin. The cross is placed at the right corner of the throne, if you look from the royal gates, the icon of the Virgin - at the left. In Russia, there were no certainty in Russia in antiquity and various icons were set: the Trinity and the Mother of God, the Cross and Trinity. Hosting Russia in 1654-1656. The Antioch Patriarch Macarium pointed out the Patriarch Nikonu, that a cross should be put in a cross with a crucifixion and the icon of the Virgin, because in Crucifixions, Christ already contains the Council and the action of the Blessed Trinity. Since then, it is done and so on.
The presence of the throne of these two images is one of the greatest secrets of the house building of God about the salvation of the human race: the salvation of the creature is carried out through the cross as an instrument of salvation and the victim for us for the Virgin Mary and Vestodel Mary. No less deep testimonies are about the participation of Our Lady in the case of Her Divine Son of Jesus Christ. The Lord, who came to the world for the godfather, was embodied by the Virgin Mary, without violating the press of the lament of her, his human body and blood revealed from her pre-lady. The communion of the body and the blood of Christ, believers become in the deepest sense of the word to the children of the Blessed Virgin Mary. Therefore, the Soviet of John Josus
Theologian and in his face of all the believers of the Virgin, when the Savior on the Cross told her: WOMEN! Behold, your son, and the apostle John the Theologian: Sea, Your Mother (), has no allegorical, but the most direct meaning.
If the church is the body of Christ, then the Mother of God is the Mother of the Church. And therefore, all the sacred, which is committed in the church, is always committed with the direct participation of the Blessed Virgin Mary. It is also the first person who has reached the state of perfect society. The image of the Mother of God is the image of a condensed creature, the first saving fruit, the first result of the redemptive adherence of Jesus Christ. Hence the presence directly in the throne, the images of the Mother of God has the greatest meaning and meaning.
Recrocessful cross can be of different shapesBut must necessarily have the image of the crucifixion of Christ. Here it should be said about the dogmatic values \u200b\u200bof the forms of the cross and various collapses. There are several basic forms of the cross acceptable to the church.
The cross is four-sided, equilateral, there is a sign of the Cross of the Lord, dogmatically meaning that all the ends of the universe, four sides of the world, are equal to the cross of Christ.
The four-ring cross with the elongated lower part highlights the idea of \u200b\u200bthe long-suffering of Divine Love, who gave the Son of God to the godfather for the sins of the world.
The cross is four-sided with a semi-dryer in the form of a crescent below, where the ends of the crescent are turned up, - very ancient view of the cross. Most often, such crosses were set and put on the domes of temples. The cross and semicircles mean anchor of salvation, anchor of our hope, anchor of rest in the heavenly kingdom, which is very consistent with the concept of the temple as a ship floating in the kingdom of God.
The eight-spin cross has one average crossbar longer than others, one directly in short, under it there is also a short crossbar, one end of which is raised and turned to the north, omitted - facing south. The form of this cross most of all corresponds to the cross, on which Christ was crucified. Therefore, such a cross is not only a sign, but also the image of the Cross of Christ. Upper crossbar is a signboard with the inscription "Jesus Nazi Tsar Judaisky", nailed by order of Pilate above the head of the Crucifier Savior. Lower crossbar - footrest, designed to serve to increase the torment of crucified, as the deceptive feeling of some support under his feet encourages the execution of unwittingly trying to alleviate his severity, leaning on it, than only the torment itself is extended.
The dogmatically eight ends of the cross mean eight main periods in the history of mankind, where the eighth is the life of the future century, the kingdom of heaven, why one of the ends of such a cross points up into the sky. It also means that the way in Heavenly kingdom Opened by Christ through his redemption, according to his word: "I am a path and truth and life" (). The skeleton of the Savior's legs were nailed, thus means that in the earth's life of people with the coming of Christ, who went on earth with a sermon, was disturbed by the balance of all people without exception under the rule of sin. The world began a new process of spiritual revival of people in Christ and their facilities from the area of \u200b\u200bdarkness in the region of heavenly. This is the movement of the rescue of people, erecting them from the ground to the sky, corresponding to the legs of Christ as the human movement organ who makes its way, and means obliquely the eight-pointed cross.
When the crucified Lord Jesus Christ is depicted on the eight-poin cross, the cross as a whole becomes a complete crucifixion of the Savior and therefore contains all the completeness of the force concluded in the criticism of the Lord, the mysterious presence of Christ Crup. This is a great and terrible shrine.
There are two main types of crucified Savior. The ancient view of the crucifixion depicts Christ with sweeping hands wide and right along the transverse central crossbar: the body does not preserve, and it rests freely on the cross. The second, more modern appearance, depicts the body of Christ to the checked, arms raised upwards and sides.
The second form is a look for the image of the suffering of Christ of our for salvation; Here, the human body of the Savior is visible in torture. But such an image does not pass through the entire dogmatic meaning of these criticism. This sense is concluded in the words of Christ himself, who said to the disciples and people: when I will be ascended from the ground, I will attract everyone (). The first, the ancient kind of crucifixion is just the image of the Son of God asked for the Cross, spreading his hands in the arms, in which the whole world is called and attracted. Keeping the image of the suffering of Christ, this kind of crucifixion at the same time surprisingly exactly the dogmatic depth of his meaning. Christ in his divine love, over which death is not ill and which, suffering, does not suffer in an ordinary sense, stretches their hugs to people from Cross. Therefore, the body does not hang it, but solemnly rests on the cross. Here Christ, crucified and deceased, amazingly alive in his very death. It deeply corresponds to the dogmatic consciousness of the Church. Attracting the embrace of Christ Hands the entire universe, which is especially well represented on the old bronze crucifixes, where over the glory of the Savior, in the upper end of the cross, is depicted by the Holy Trinity or God Father and God Spirit Holy in the form of a dove, in the upper short crossbar - the Andes of Angelic Christ ranks; The right garbage of Christ is depicted by the sun, and at the left - the moon, on the slanting crossbar at the legs of the Savior depicts the view of the city as a image of human society, those hazards and the weighs that Christ walked, preaching the Gospel; under the foot of the cross depicted a resting head (skull) of Adam, whose sins of Christ washed his blood, and even lower, under the skull, then the Tree of knowledge of good and evil, which he brought the death of Adam and in him all his descendants and who is opposed now the Tree Cross, Communicating himself and gives eternal life to people.
The Son of God's Son of God, who came in the flesh in the sake of the godfather, and penetrates all the areas of the life of the Divine, Heaven and Earth, fulfills all the creation, the whole universe.
Such a crucifix with all his images opens the symbolic meaning and the importance of all ends and crossbar of the cross, helps to understand the numerous interpretations of the crucifix, which are contained by the Holy Fathers and Teachers of the Church, makes the spiritual meaning of those types of cross and crucifixes, on which there are no such detailed images. In particular, it becomes clear that the upper end of the cross marks the area of \u200b\u200bthe existence of God, where God remains in a triplic unity. The separation of God from the creature depicts the upper short crossbar. In turn, it marks the region of Heavenly Being (the world of angels).
The average long crossbar accommodates the concept of everything in general creation, since the sun and the moon are placed here (the sun - as the image of the glory of the Divine, the moon - as an image of the visible world, self-esteem and light from God). Here are the hands of the Son of God, through which everything "began to be" (). Hands embody the concept of creation, creativity of visible forms. Kosy crossbind is an excellent image of mankind designed to rise, make their way to God. The lower end of the cross marks himself by the sin of Adam Earth earlier (), but now again connected with God the feat of Christ, forgiven and purified by the blood of the Son of God. Hence the vertical strip of the cross means unity, the reunion in God is only existing, which was performed by the feat of the Son of God. At the same time, the Body of Christ is voluntaryly devoted for the salvation of the world performed by everything - from earthly to the more than more. It encompasses the incomprehensible secret of the crucifixion, the secret of the cross. What is given to us to see and intelligible in the cross, only bring us to this mystery, but does not open it.
The cross has numerous meanings from other spiritual points of view. For example, in the house-building about the salvation of the human race, the jest means its vertical straight line justice and the immutability of the Divine Commandments, the directness of God's truth and truth that does not allow any violations. This straight is intersecting the main transverse crossbar, meaning the love and mercy of God to the fallen and falling sinners, for which the Lord himself was sacrificed, who took the sins of all people.
In the personal spiritual life of a person, the vertical line of the cross means the sincere desire of human soul from the Earth to God. But this desire is crossed by love for people, to the near, which, no matter how it gives a person the opportunity to fully implement his vertical desire for God. At certain steps of spiritual life, this is the daytime flour and a cross for the soul of human, well acquaintances to everyone who tries to go through the spiritual feat. This is also a mystery, because a person must constantly combine the love of God with love for neighbor, although this is not always it turns out. Many wonderful interpretations of different spiritual values \u200b\u200bof the Cross of the Lord are contained in the creations of the Holy Fathers.
The prescript cross is eight-pointed, but more often - four-spin with an elongated down vertical crossbar. It depicted a crucifixion, and the image of the Mother of God and John the Theologian, who had to be at Golgotha, who had to be near the cross on Calvary were sometimes placed on a transverse crossbar.
Purpose Cross and Icon of Our Lady are remote. Dogmatically, this means that the grace of the godniense of the Savior and the prayers of the Virgin, emanating from the vague throne of God, is not closed, and is designed to move into the world constantly, making salvation, the consecration of human souls.
The content of paintings and the altar icons was not constant. And in deep antiquity it was not always the same and at the next time (the XVI-XVIII centuries) underwent strong changes, additions. The same applies to all other parts of the temple. On the one hand, it is associated with the latitude of the church picturesque canon, which provides certain freedom of thematic choice for painting. On the other hand, in the XVI-XVIII centuries. The diversity in painting is already caused by the penetration of the influences of Western art into the Orthodox medium. Nevertheless, in the murals of the temples and to this day they try to observe a certain canonical order in the placement of spiritual stories. Therefore, it seems appropriate to lead here as an example one of the possible options for composite location of the painting and icons in the temple, starting with the altar, compiled on the basis of the ancient canonical ideas of the church, reflected in many of the pains of the ancient temples that have come to us.
In the most upper arrangements of the altar, Cherubim are depicted. At the top of the altar Assida, the image of the Mother of God "Znoman" or "Industrable Wall" is placed, like, on the mosaic of the Kiev Sofia Cathedral. In the middle part of the central semicircle of the altar, the image of the Eucharist - Christ, who teaching the Communion of the Holy Apostles, or the image of Christ the Almighty, ascending on the throne, was taken to put an altar. To the right of this image, if you look from it to the West, it is placed in consistently on the northern wall of the altar of Archangel Mikhail, the Nativity of Christ (above the altar), the Holy Liturgists (, songs of the Prophet of David with Harp. On the left of the city of Gabriel placed on the side of the south wall. , Crucifixes of Christ, liturgists or universal teachers, songs of the New Testament -, Roman Swekopevtsa, etc.
Iconostasis, middle part of the temple
The middle part of the temple marks it, first of all, the Horny, angelic world, the region of heavenly being, where all the righteous, who moved there from earthly life. According to some interpretations, this part of the temple also marks the area of \u200b\u200bearthly existence, the world of people, but already justified, consecrated, congenital, the kingdom of God, the new sky and the new land in their own sense. Interpretations converge in the fact that the middle part of the temple is a creature world, unlike the altar, marking the area of \u200b\u200bGod's existence, the area is more than the secrets of God. With such a ratio of the values \u200b\u200bof the parts of the temple of the altar, from the very beginning, it was certainly due to separated from the middle part, for God is completely different and separated from his creation, and from the very first time of Christianity, such a separation is strictly observed. Moreover, it is established by the Savior himself, favorabled to make a secret night not in residential rooms at home, not with the owners, but in a special, specially cooked doors. In the future, the altar was separated from the temple with special obstacles and watered on the elevation. The elevation of the altar from antiquity is preserved to this day. The altar obstacles have undergone significant development. The meaning of the process of gradual conversion of the altar lattice into modern iconostasis is that approximately from the V-VII centuries. The altar barrier-lattice, which was the symbol-sign of the individual of God and the Divine from all the tweak, turns gradually into the symbol-image of the Heavenly Church, headed by its founder - the Lord Jesus Christ. This is the iconostasis in its modern form. He is facing his face to the middle part of the temple, wearing the name "Church". The coincidence of the concepts of the Church of Christ in general, the whole temple as a whole, its middle part is very significant and from a spiritual point of view is not accidental. The region of the heavenly being, which marks the middle part of the temple, there is an area of \u200b\u200bthe Objeated creature, an area of \u200b\u200beternity, the kingdom of heaven, where the most believing people of the earthly church, who are of their salvation in the temple, seek in his spiritual path. Here, in the temple, the earthly church, therefore, should come into contact, meet with the Church of Heaven. In the appropriate prayers, deadlines, where all the saints, exclamations and the actions of the worship have long been the communication of people standing in the temple, with those who are in heaven and prays with them. The presence of persons of the Heavenly Church was ancient times and in icons, and in the old painting of the temple. It was not enough until the time of such an external image, which would indicate, revealed with a clear, visible way invisible, the spiritual concept of the Heavenly Church for the earthly, its intermediation in the salvation of living on Earth. Such a visible symbol, more precisely, the slim set of symbols-images was the iconostasis.
With the advent of the iconostasis, the meeting of believers turned out to be literally face to face with the meeting of celestials mysteriously present in the images of the iconostasis. In the device of the earthly temple there was a dogmatic completeness, perfection was achieved. "The restriction of the altar is necessary so that it is not for us as nothing," the priest writes (1882-1943). - The sky from the Earth, alternating from the Dolly, the altar from the temple can be separated only by visible witnesses of the world of invisible, alive symbols of the connection of the other, otherwise - holy tweaks. The iconostasis is the border between the world visible and the world invisible, and this altar obstacle is carried out, an affordable consciousness is made by a cloud of witnesses who survived the throne of God ... Iconostasis is the phenomenon of saints and angels ... The phenomenon of Heavenly Witnesses and, above all, the Mother of God and Christ - Witnesses announced that on the other side of the flesh. " Here is the answer to the question why this cloud of Witnesses of God is placed in such a way that he should certainly be as if to close the altar from the eye praying in the temple. But the iconostasis does not close the altar from believers in the temple, and discloses the spiritual essence of what is contained and performed in the altar and in general in the whole church of Christ. First of all, this entity is in fact that members of the Earth Church are designed and striving and seeking members of the Church of Heaven, Claimed in Iconostas. Images of iconostasis show the result of rapprochement with God and staying in union with him, to which all the convolents of the Christ Church are directed, including those that are carried out inside the altar.
Holy images of the iconostasis, closing the altar from believers, thereby mean that a person does not always communicate with God directly and directly. God is well-known to put between him and people the sleeps of their chosen and famous friends and intermediaries. The participation of the saints in the salvation of members of the Earth Church has deep spiritual grounds, which is confirmed by all the Holy Scriptures, the tradition and teaching of the Orthodox Church. So the one who honors the chosen and friends of God as intermediaries and the interested people in God, that thus worship God, sanctified and glorified them. This mediation for people is primarily of Christ and Mother of God, and then - all other children of God makes dogmatically necessary, so that the altar as marking himself directly in his own field of being, was separated from the praying images of these intermediaries.
During worship, the royal gates are clarified in the iconosta, giving the opportunity to the believers to contemplate the shrine of the altar - the throne and everything that happens in the altar. At the Easter week, all altar doors are constantly open within seven days. In addition, the royal gates are usually done non-solid, but lattice or carved, so that with a retaining veil of these gates, believers can partly see the inside of the altar even in such a sacred moment as the liberation of holy gifts.
Thus, the iconostasis does not completely close the altar: on the contrary, from a spiritual point of view, he reveals the believers of the greatest truth of the house building of God about salvation. Live mysterious communication of the iconostasis (the waters of God, in which the image of God has already been restored) with people standing in the temple (in which this image still needs to be restored), creates a totality of churches of heaven and earthly. Therefore, the name "Church" in relation to the middle part of the temple is very true.
Iconostasis is arranged as follows. In the central part of it, the royal gates are placed - bivalve, especially decorated doors, located opposite the throne. They are called so because the king of glory is coming through them. The Lord Jesus Christ in the Holy Gifts to teach communion to people. It mysteriously also enters them during the entrances with the Gospel and on the Great Entrance to Liturgy in the proposed, but not yet beneficial honest gifts.
It is believed that the royal gates received their name because they passed through them the ancient Byzantine kings (emperors). This opinion is mistaken. In this sense, the royal was called the gates leading from the River to the Temple, where the kings were removed from the crowns, weapons and other signs of the royal power. To the left of the royal gates, in the northern part of the iconostasis, northern single-standing doors are arranged against the altar for the exits of clergy in the statutory moments of worship. To the right of the royal gates, in the southern parts of the iconostasis, there are southern single-door doors for the authorized entrances of clergy in the altar, when they are not performed through the royal gates. From the inside of the royal gates, from the side of the altar, is presented from top to bottom of the curtain (cataretasma). It turns back and hides in the statutory moments and marks the secret of the secret of the secret, covering the shrines of God. The opening of the curtain depicts the discovery of the secrets of salvation. The opening of the royal gates means the promised opening of the believers of the heavenly kingdom. The closing of the royal gates marks the deprivation of the people of Heavenly, because of their fall. Standing in the temple it reminds of their sinfulness, which makes them even unworthy entry into the kingdom of God. Only the feat of Christ opens the possibility of faithful to be partakers of heavenly life. During worship for these main symbolic values The curtains and royal gates consistently join more private values. For example, after a great entrance on liturgy, which marks the march of Christ the Savior to the godfather and the death of our sake of salvation, the closure of the royal gates means the position of Christ to the coffin, and the curtain closing the stone marks the stone striking to the door of the coffin. When singing then the Symbol of Faith, where the resurrection of Christ, the curtain opened, denoting the stone, the reckled by an angel from the door of the coffin of the Lord, and also the fact that faith opens the way to salvation.
Saint John Theologian saw the door in revelation, as if a hole in the sky, she also saw that the temple of Heavenly cooler. The liturgical discovery and closing of the royal gates, therefore, corresponds to what is happening in heaven.
On the royal gates, the image of the Annunciation of the Archangel Gavriil Mary Mary is placed on the upcoming birth of the Savior of the world of Jesus Christ, as well as the images of the four evangelists who argued about this coming in the flesh of the Son of God to all mankind. This coming, being the beginning, the glazing of our salvation, truly rejected people closed to the doors of the heavenly life, the kingdom of God. Therefore, images on royal gates deeply correspond to their spiritual meaning and meaning.
The image of Christ the Savior is placed on the right of the royal gate and immediately behind it - the image of that saint or sacred event, in whose name this temple is consecled or akin. To the left of the royal gates is the image of the Mother of God. This particularly clearly to all those present in the temple shows that the entrance to the kingdom of heaven opens by the Lord by the Lord Jesus Christ and his Mother Mother - a mentaire of our salvation. Further, behind the icons of Our Lady and the temple holiday on both sides of the royal gates, as far as the space allows, the icons of the most distortions in this arrival of the saints or sacred events are set. On the side, northern and southern, the doors of the altar are depicted, as a rule, the archicalacons of Stefan and Lawrence, or Archangel Mikhail and Gabriel, or famous saint, or Old Testament High Priests. Above the royal gates is placed the image of a secret evening as the beginning and the foundation of the Christ Church with its most important mystery. This image also indicates that behind the royal gates in the altar takes place the same thing that happened at the secret evening and that the fruits of this sacrament of the body and the blood of Christ for the communion of believers occur through the royal gates.
On the right and to the left of this icon, in the second row of the iconostasis are the icons of the most important Christian holidays, that is, those sacred events that served as to save people.
The next, the third row of icons has its center the image of Christ the Almighty, in the royal journey of the squeezing on the throne, as if coming to judge alive and dead. On his right hand, the Most Holy Maiden Mary is depicted, which makes him a forgiveness of human sins, left From the Savior - the image of the preacher of repentance of John the Forerunner in the same prayer position. These three icons are called Deisis - prayer (talk. Deesus). On the sides of Our Lady and John the Baptist are the images of the apostles facing Christ in the prayer.
In the center of the fourth row of the iconostasis depicts the Mother of God with the Boggrowets in his lap or knees. On both sides of it depicts the vestibly born from her, the Old Testament prophets.
In the fifth row of the iconostasis on one side, the images of the foreflauses are placed, and on the other - the saint. The iconostasis is certainly marked with a cross or cross with a crucifixion as a top of divine love for the fallen world, who gave the Son of God sacrificed for the sins of mankind. In the center of the fifth row of the iconostasis, where this series is, the image of the Lord Savaof, the God-Father is often placed. Its image appears in our church at around the XVI century. In the form of the composition "Fatherland", where in the Lona Father's God, which has the appearance of a gray-haired elder, depicts the Lord Jesus Christ and the Holy Spirit in the image of a pigeon. Based on the dogmas of Orthodoxy, on the apostolic messages, on the creations of the Holy Fathers, the church did not recognize this image. At the Greater Moscow Cathedral of 1666-1667. It was forbidden to portray God's Father, for he has no tweak species, or the image, "no one ever seen God, the only soccer son, which is in subsoil, he revealed" (). It is impossible to depict the church that never accepted the real image was not creative. And nevertheless, up to this day, the images of the Father's God are widely distributed separately and in the compositions of the "Fatherland" and the New Testament Trinity, where the God-Father is presented in the same appearance of the elder, and the Son, Jesus Christ, with the cross, between They are in the form of a dove - the Holy Spirit. This composition came to us from Western art, where arbitrary symbolism, based on human fantasy, is very developed.
The first three rows of the iconostasis, starting from the lower, each individually and all together contain the completeness of the spiritual idea of \u200b\u200bthe essence of the Church and its saving meaning. The fourth and fifth rows are a supplement to the first three, as they do not contain due dogmatic completeness themselves, although together with the lower rows are perfect and deepen the concept of the church. Such wisdom of the device of the iconostasis allows him to have any sizes as the temple sizes or in connection with the ideas about spiritual expediency.
The lower row of iconostasis mainly depicts what is spiritually closest to standing in this temple. This is primarily the Lord Jesus Christ, the Mother of God, the temple holy or holiday, the icons of the most distortions in the arrival of the saints. The second row (holidays) builds the consciousness of believers above, to those events that have formed the basis of the New Testament, preceded the current day, determined it. The third row (deisis with the apostles) builds spiritual consciousness even higher, asking him to the future, to the court of God over people, showing at the same time who is closest to God with prayermen for human genus. The fourth row (prophets with the Virgin) extends a prayer to contemplating the inseparable relations of the Old and New Testaments. The fifth row of iconostasis (forefathers and saints) allows consciousness to cover the entire history of mankind from the first people to teachers of today's church.
Thus, the attentive contemplation of the iconostasis is able to deliver the deepest ideas about the fate of the human race, about the secrets of the divine fishery, about the salvation of people, about the secrets of the church, about the sense human life, Iconostasis in a simple and slender combination of images fused into a single whole, easily perceived by the eyes, turns out to be the completeness of the dogmas of the concern of the Orthodox Church. The teacher action and the meaning of the iconostasis, which is voluntarily and involuntarily focused on the prayerful attention of all those who stand in the temple to the altar, above any positive estimates.
The iconostasis has a great power of a gracious action that cleans the soul of contemplating his people who informs them the grace of the Holy Spirit is so much as accurately correspond to the images of the iconostasis of their primordias and their heavenly state. In the prayer for the consecration of the iconostasis, the ingeniousness is very detailed, since Moses, honoring the holy images, unlike the reading of creatures, as idols and is requested from God to give the fertile power of the Holy Icon. God of mercies, he received healing from body and spiritual diseases and the necessary support in the spiritual feud of the salvation of his soul. The same sense also contains prayers for the consecration of all icons in general and sacred items.
Iconostasis, like any icons, is consecrated by the special prayers of priests or bishops and the sprinkling of holy water. Before the sanctification of holy images, although they are devoted to God and the Divine and in a sense are already sacred due to their spiritual content and meaning, nevertheless there are still human hands. Cain sanctification clears these products and informs them the church recognition and the grace of the Holy Spirit. After consecration, holy images seems to be alienated from their earthly origin, and from their earthly creators, becoming the property of the whole church. This can be explained by an example of the relationship of religious consciousness to the pictures of worldly artists on spiritual topics. Looking at any worldly picture, where Jesus Christ or Virgin Maria depicts, or any of the saints, the Orthodox man is experiencing a legitimate sense of reverence. But to worship with these pictures like icons, it will not pray for them, because they are non-canonic and do not contain proper dogmatic completeness in the interpretation of holy images, not consecrated by the church as an icon, and therefore do not contain the fertile power of the Holy Spirit.
Iconostasis is therefore not only the object of prayer contemplation, but also the object of the prayer itself. For the images of the iconostasis, believers treat the petitions about earthly and spiritual needs and as the faith and God's ideas are asked as possible. Between the believers and the saints depicted on the iconostasis, a lively relationship of mutual communication is established, which is nothing but the connection and communication of heaven and earthly churches. Heavenly, the triumphant church, represented by the iconostasis, provides an active care for the earth, militant or wandering church, as it is customary to call it. In this sense and value of the iconostasis.
All this can be attributed to any icon, including those in a residential building, and to the wall paintings of the temple. Separate icons in different parts of the temple and in private houses, as well as wall murals in the temple have the strength of the Holy Spirit, and the ability through their way to introduce a person to communicate with the saints that are depicted on them, and testify to the person about the state of oblivion, to Which and he must strive. But these icons and compositions of the wall painting or do not create the general image of the Heavenly Church, or are not the same as the iconostasis, namely the mediastum between the altar (the place of the special presence of God) and the meeting (Eclicsia), the Church, together with the Temple of People. Therefore, the iconostasis is a set of images that acquire a special meaning because they constitute an altar barrier.
The mediastinum between the God and earthmatic people of the Church of the Heaven, which is the iconostasis, is also determined by the depth of the dogma about the church, as such a condition personal salvation of every person. Without the mediation of the Church, no voltage of the person's personal desire to God will introduce him to communicate with him, will not provide him with salvation. A person can only escape as a member of the Church, a member of the Body of Christ, through the sacrament of baptism, periodic repentance (confession), the communion of the body and the blood of Christ, prayer communication with the fullness of the Heaven and Earth's Church. This is defined and established
The Son of God in the Gospel itself is disclosed and explained in the creation of the Church. Outside the church there is no salvation: "To whom the church is not a mother, God is not the Father" (Russian proverb)!
As it is necessary or case of communication of a believer with the heavenly church and the residence in its mediation can be purely spiritual - outside the temple. But since it is about the symbolism of the temple, then in this symbolism the iconostasis is the necessary external image of the mediation of the Heavenly Church.
The iconostasis is arranged on the same elevation as the altar. But this elevation continues from the iconostasis for a certain distance inside the temple, west, to the praying. Elevation This happens one or more steps from the floor of the temple. The distance between the iconostasis and the end of the elevated area is poured by salts (Greek. - Wings). Therefore, the sublime saline is called an external throne in contrast to the inner, which in the middle of the altar. This name is especially absorbed by the Amvon - a semicircular protrusion in the middle of the saline, against the royal gates, turned into the temple, to the west. In the throne, inside the altar, the greatest sacrament of the implementation of bread and wine into the body and blood of Christ, and the mysteriousness of the communion of the municipality of believers is committed on the Embon or from Ambon. The greatness of this sacrament requires the elevation of the place that the sacrament is taught, and likes this place to some extent the throne inside the altar.
In such an elevation device, the wonderful meaning is lighted. The altar does not end in fact the obstacle - iconostasis. He comes out of him and from him to people, giving the opportunity to understand everything that for people standing in the temple, everything is committed in the altar. This means that the altar is separated from the praying not because they are less than the clergymen who are the essence of themselves the same earthmore, as well as everyone deserve to be in the altar, but in order to show people in external images of truth about God, Heaven and earthly life and the order of their relationship. The throne of the inner (in the altar), as it were, goes into the throne external (in saline), equalizing everyone under God, giving their body and blood into communication and healing of sins. True, those who commit a holy in the altar are tested by the grace of the Sacred San to be able to unhindered and unambiguously commit holy secrets. However, the grace of the Sacred Sana, giving the possibility of sacred, does not allocate clergymen in human terms from other believers. Bishops, priests and deacons before the communion of the Holy Taine read the same prayer as the Mijan, whom they confess the worst of all sinners ("The first of them is the first ESM AZ). In other words, the clergymen are not because they have the right to enter the altar and the commission of the sacraments that they are cleaner and better than others, but because the Lord favored to clothe their special grace to commit the sacraments. This shows all people that in order to spiritually get closer to God and become an accomplice of his sacraments and divine life, you need special consecration and purity. The grace of Sacred Sana is like a prototype of restoration in the people of God, the egencies of people in the life of the eternal kingdom of heaven, the sign of which is the altar. This thought is particularly clearly in the liturgical clothes of sacred.
Ambon in the center of saline means climbing (Greek. - "Ambon"). He marks the places from which the Lord Jesus Christ (Mount, Ship) preached, as the Gospel is read on the ammon during the liturgy, the Deacon pronounces objects, the priest - sermons, teachings, bishops turn to the people. Ambon also announces the resurrection of Christ, meaning a stone, a reckled by an angel from the door of the Mernel's coffin, that he had done all those who believe in Christ, partakers to his immortality, for which they were taught from the Ambon's body and the blood of Christ to leaving sins and into life eternal.
Salt in a liturgical attitude There is a place for readers and singers, which are called faces and depict the face of angels who chanting the praise of God. Since singers are directly involved in worship, they are located above the rest of the people, in saline, in its left and right side.
In the apostolic and first-year-old times, all those who were present in the prayer assembly of Christians sang and read, there were no special singers and readers. As the church increases at the expense of pagans, not familiar with Christian chanting and psalm, singing and reading began to stand out from the general environment. In addition, in view of the greatness of the spiritual meanings of singing and reading, as the heavenly likens, they began to choose them from among the most worthy and capable people, as well as clergy. They began to be called clerics, that is, elected by lot. From here and places in salt on the right and left, where they stood, got the names of pollos. It should be said that the clerics, or the faces of singers and readers, spiritually designate for all believers the state in which everyone should be, that is, the state of the unceasing prayer and the gloriousness of God. In that spiritual war with a sin, which the earthly church leads, the main spiritual weapon is the Word of God and Prayer. The closets in this respect are the essence of the image of the militant church, which is especially indicated by two korugrey - icons on high trees made in the likeness of the ancient military banners. These Khorugvi are strengthened by the right and left-hand crashes and are taken out in solemn criticism as a banner of victory of the militant church. In the XVI-XVII centuries. Russian military regiments were called by the name of those icons, which were depicted on their regimental banners-korugwy. These were usually the icons of the temple holidays of the most important Kremlin cathedrals, of which they complained about the troops. In the cathedral bishops constantly, and in the parish temples - as needed, at the arrival of the bishop, in the center of the middle part of the temple against Ambon there is an elevated square spot, a platform for the bishop. On him the bishop dates backwards for the versions, committing some part of worship. This possession is called the Bishops' Ambone, a closure place or just a place, Runduk. Spiritual value This place is determined by staying on it the bishop, which depicts the stay of the Son of God in the flesh among people. The bishop of the Embon in this case means his elevation to the height of the humility of the word, ascent of the Lord Jesus Christ to the top of the feat in the name of the salvation of mankind. For the reconciliation of the bishop on this Embon, a meeting of the department is set in the charter of worship. The last name in everyday life passed in the name of the entire bishop of the Ambon, so that the concept of "Cathedral" was formed from here main church Areas of this bishop, where it is constantly in the middle of the temple of his department. This place is decorated with carpets, it has the right to stand and make the service only bishop.
Behind the closure place (bishop ammon), bivalve doors or gates leading from the middle part of the temple in the bee are arranged in Western church foam. This is the main entrance to the church. In antiquity, these gates especially decorated. In the charter, they are called red, due to their adulterination, or church (typicon. Subscribe of Easter morning), as they are the main entrance to the middle part of the temple - the church.
In the Byzantium, they were also called the royal for the reason that the Orthodox Greek kings before entering the entrance to the temple, as the character of the king of Heaven, they removed the signs of their royal dignity (crowns, weapons), released the guard and bodyguards.
In the ancient Orthodox churches, these gates were often drawn up with a beautiful, semicircular at the top of the portal consisting of several arches and semi-colonnes, leaving the walls from the surface of the wall inside, to the doorways, as if narrowing. This architectural detail of the gate marks the entrance to the kingdom of heaven. According to the word of the Savior, the goat and narrow are the path leading to life (eternal) (), and believers are invited to find this narrow path and enter the kingdom of God with close gates. The ledges of the portal are designed to recall this to people entering the temple, creating the impression of a narrowing entrance and coming at the same time those steps of spiritual perfection that are necessary for the performance of the Savior's words.
Arches and vaults of the central part of the temple, which are completed in a large central bribing space, correspond to the streamlining, sphericity of the space of the universe, the celestial of the severity, stretched above the ground. Since the apparent sky is the image of the sky of an invisible, spiritual, that is, the areas of heavenly existence, inspired by the head of the middle part of the temple, are depicting the region of heavenly being and the most desire of human souls from the ground to the height of this heavenly life. The lower part of the temple, mainly the floor marks the land. In the architecture of the Orthodox church, the sky and the Earth are not opposed, but, on the contrary, are closely unity. It clearly shows the execution of the prophecy of the Psalm People: the mercy and truth will be sown, the world will be solved; The truth will arise from the ground, and the truth will be straightened with heaven ().
According to the very deep meaning of Orthodox creed, the Sun of Truth, the Lite of the True Lord Jesus Christ is the spiritual center and the vertex, to which everything seeks in the church. Therefore, ancient times in the center of the inner surface of the central dome of the temple was taken to put the image of Christ of the Almighty. Very quickly, already in the catacombs, this image takes on the appearance of the belonging image of Christ the Savior, blessing people with his right hand and in the left holding the Gospel, revealed usually on the text "AZ EMI Light World".
In the placement of pictorial compositions in the central part of the temple, as in other parts, there are no templates, but there are certain canonically permissible options for compositions. One of the possible options is the next.
In the center of the dome is depicted by Christ Almighty. Under it, at the bottom edge of the area of \u200b\u200bthe dome - Serafim (the forces of God). In the drum of the dome - eight archangels, celestial ranks designed to obey the land and peoples; Archangels are usually depicted with signs expressing the features of their personality and ministry. So, Mikhail has a fiery sword with him, Gabriel - the paradise branch, Uriel - fire. In the sails under the dome, which are formed by the transition of quadrangular walls of the central part to the round drum of the dome, are placed by images of four evangelists with mysterious animals corresponding to their spiritual nature: the evangelist of John theologians with an eagle is depicted in the northeastern sail. On the contrary, diagonally, in the south-west sail, - the evangelist of Luke with Taurus, in the northwestern sail - the evangelist Mark with Lvom, on the contrary, diagonally, in the southeast sail, is the evangelist Matthew with a creature in the man's image. Such a placement of the images of evangelical corresponds to a cross-making movement of the star over the disk. During the Eucharistic canon with the exclamation of "Glazhly, cryingly, crying and verbulabby." Then, along the northern and southern walls from top to bottom, there are rows of images of the apostles from seventy and saint, reverend and martyrs. Wall murals, as a rule, do not reach the floor. From the floor to the boundary of the images, the height is usually on the shoulders of the man are panels, on which there are no sacred images. In antiquity, these panels were depicted towels, decorated with an ornament, which attached a special solemnity of wall paintings, which, as the great shrine, as if they were presented to people along the ancient custom on decorated towels. These panels have a double destination: firstly, they are arranged in order to make the sacred maps of the sacred maps to be praying with a large coherence. Secondly, the panels, as it were, leave the place in the lower row of the temple building for people, earthly standing in the temple, for people carry the image of God, although the dimmed sin. This corresponds to the usual of the church, according to which each in the temple is performed first by holy icons and wall images, and then people as wearing the image of God, that is, as if animated icons.
The North and South Walls, in addition, can be filled with images of the events of the Holy History of the Old and New Testaments. On both sides of the input Western doors in the middle Issue of the temple, the images "Christ and the sinner" and the fear of the drowning Peter "are placed. Over these gates, it is customary to put an image of a terrible trial, and above it, if the space allows, the image of the six-day creation of the world. In this case, the images of the Western Wall represent the beginning and the end of the earth's history of mankind. On pillars in the middle part of the temple, images of saint, martyrs, saints are placed, the most charged in this parish. Spaces between individual scenic compositions are filled with ornament, where images are mainly used vegetable world or images corresponding to the content of Psalm 103, where the picture of other exisions is drawn, lists the various breeds of creating. In the ornament, such elements as crosses in a circle, rhombry and others can also be used. geometric Figures, octagonal stars.
In addition to the central dome, the temple can have several more domes in which the images of the cross, the Mother of God, all-seeing eye in the triangle, the Holy Spirit in the form of a pigeon. The dome is usually customary to arrange where there is a chapel. If one throne in the temple, one dome is made in the middle part of the temple. If in the temple under one roof, in addition to the main, central, there are several more temples, then over the middle of each of them the dome is constructed. However, the outer dome on the roof is not always and in antiquity strictly corresponded to the number of adhesions. So, on the roofs of three-trothed temples often costs five domes - to the image of Christ and four evangelists. In this case, three of them correspond to the adhesives and therefore from the inside have an open bribery space. And two dome in the western part of the roof rise only above the roof and from the inside the temple is closed with arches of the ceiling, that is, do not have bribery spaces. In later times, from the end of the XVII century, there are sometimes many domes on the roofing of the temples without much to the number of features in the temple. In this case, it was observed only that the central dome had an open bribery space.
In addition to Western, red gates, Orthodox churches are usually two more entrances: in the northern and southern walls. These side entrances may mean the divine and human nature in Jesus Christ through which we, as it were, enter into communication with God. Together with Western gates, these side doors make up the number three - into the image of the Holy Trinity, entering into the life of the eternal, in the heavenly kingdom, which is the temple.
In the middle part of the temple, together with other icons, it is considered mandatory to have an image of Calvary - a large wooden cross with the image of a crucified savior, often made in a natural value (in human growth). The cross is made eight-pointed with the inscription on the upper short crossbar "NTSI" (Jesus Nazi Tsar Jewish). The lower end of the cross is reinforced in the stand, having a rock coaster. In the front side of the stand, a skull and bones are depicted - the remains of Adam, revived by the god feat of the Savior. According to the right hand of a crucified Savior, the image of Our Lady of Growth, asked His gaze to Christ, on his left hand - the image of John the Godlov. In addition to his main appointment, to convey to people the image of the godfather of the Son of God, such a crucifixion with the upcoming people is also intended to recall how the Lord before his death on the cross said his mother, pointing to John the Cologovo:
Women! Sea, your son, and turning to the apostle: Sea, Mati Your (), and thus rigged my mother, Sesamed Mary, all the believer in God mankind.
Looking at such a crucifix, believers should penetrate the fact that they are not only the children of God created by their God, but, thanks to Christ, and the children of the Mother of God, since they are committed to the bodies and blood of the Lord, who were formed from the pre-first virgin blood virgin Mary, who gave birth On the flesh of the Son of God. Such a crucifix, or Calvary, a great post is put forward to the middle of the temple by face to the entrance for a publy reminder to people about the crusst suffering of the Son of God for our salvation.
Where in the focus there are no proper conditions, in the middle of the temple, usually at the northern wall, there is a table with a canon (canon) - a quadrangular marble or metal board with a multitude of candletes and a small crucifix. Here they serve the memorial dyes. Greek word "canon" in this case means a subject with certain outlines and dimensions. The canon with candles marks himself, that faith in Jesus Christ, preached by a four-day, all the departed can make partakers of the Divine Light, the light of eternal life in the kingdom of heaven. In the center of the middle part of the temple should constantly stand an allay (or tax) with an icon of a holy or holiday celebrated in the given day. Anal - stretched up the tetrahedral table (stand) with a canopy board for the convenience of reading the appointed gospel, the apostle or applied to the icon on the analog. Used primarily for practical purposes, anal has the importance of spiritual height, an elevation corresponding to those holy subjects that rely on it. A gentle top board, rising up to the east, marks the elevation of the soul to God through the reading, which is performed with the aalo, or kissing the gospels lying on it, cross, icons. Incoming to the temple worship primarily an icon on an analog. If there are no icons in the temple of the currently celebrated holy (or saints), the sacraticles are relying - icon-painted images of saints by months or crescents, memorable at every day of this period placed on one icon.
In the temples should be 12 or 24 such icons - for the whole year. In each temple, there should also be small icons of all great holidays for their position in holidays On this central analog. Analogies are put on an amon for reading the gospel of Deacon during the liturgy. For festive all-night vigils, the Gospel is read in the middle of the temple. If the service is performed with deacon, then at this time the deacon holds the revealed Gospel before the priest or bishine. If the priest serves one, then he reads the gospel on an analogue. Anal is used in the sacrament of confession. In this case, the small Gospel and Cross are relying on it. When making the mystery of the wedding, the youngsters are deployed by the priest three times around the aalo with the gospel and a cross lying on it. Anal is used for many other services and treks. It is not a mandatory sacred-mysterious subject in the temple, but the conveniences that the anal delivers in worship is so obvious that its use is very wide, and there are several analogs in every temple. Analogies are decorated with clothes and bedspreads of the same color as the clergy clothing into a specific holiday.
Focus
Typically, the impotence is separated from the temple with a wall with red Western gates in the middle. In the ancient Russian temples of the Byzantine style, the fabrics were often not at all. This is due to the fact that the time of the decision of Christianity in the Church was no longer discontinued throughout the rigor of the rules announced and their various degrees. By this time, in the Orthodox countries, people were already baptized in infant age, so the baptism of adult foreigners was an exception, for which there was no need to specifically build trimets. As for people under the epitimony of repentance, they stood some part of the Western Wall of Temple or Parity. In the future, the needs of different nature prompted to return to the construction of the River. The name "The Fitting" displays the historical circumstance, when the two-party ancient temples began to pretend to be pretended, to additionally add the third part. The own name of this part is a meal, because in her antiquity there were a treat for the beggar on the occasion of the holiday or commemoration of the departed. In Byzantium, this part was also called "Narfix", that is, a place for punished. Now almost almost all of our temples with rare exceptions have this third part.
The Governorate is now a liturgical appointment. In it, according to the Charter, lithium should be accomplished on great evening, memorial panels on the deceased, as they are associated with the offer of the believers of various products, of which are not considered possible to be made to the temple. In the focus in many abode there is also a follow-up of certain parts of evening worship services. The focus is given a cleansing prayer to a woman after 40 days after childbirth, without which it does not have the right to enter the temple. In the focus, as a rule, there is a church drawer - a place for sale of candles, prosphoras, cross, icons and other church objects, registration of baptics, weddings. In the trim, there are people who received the appropriate pennies from the confessor, as well as people who themselves for one reason or another honors themselves unworthy in this time Pass into the middle part of the temple. Therefore, nowadays, the Putcher retains not only its spiritual and symbolic, but also spiritually practical significance.
Painting The Greater consists of wall-mounted paintings on the themes of the heaven of priesthood and expuls them from Paradise, there are also various icons in the trim.
The launder is arranged or across the width of the western wall of the temple, or what happens more often, it is already, or under the bell tower, where it adjoins the temple closely.
The entrance to the flooring from the street is usually arranged in the form of pellets - the playgrounds in front of the doors on which several steps lead. Popper has a big dogmatian meaning - as the image of the spiritual elevation where the church is among the surrounding world, as the kingdom is not from this world. Passing his ministry in the world, the church at the same time by nature is essentially different from the world. This is denoted by the steps, towering the temple.
If you count from the entrance, then poverty is the first elevation of the temple. Salt, where the churches and singers are elected from the laity and singers, depicting the Church of the Militant and Angelic Laca, is the second elevation. The throne, on which the sacrament of the bloodless victim in God-edition is a third elevation. All three elevations correspond to the three main stages of the spiritual path of the person to God: the first is the beginning of the spiritual life, the very entrance to it; The second is a feat of the militant against sin for the salvation of the soul in God, lasting the whole life of a Christian; The third is an eternal life in the kingdom of heaven in constant fraud.
Rules of behavior in the temple
The holiness of the temple requires a special reverent relationship. The Apostle Paul teaches that at the prayer meetings "Everything is happening fraudulently and by rank." For this purpose, the following governing rules have been established.
- To visit the Temple served to benefit, it is very important to configure himself prayer even on the way to him. We need to think that we want to appear in front of the heavenly king, before which the billions of the angels and the holy worshi of God are coming with trepidation.
- The Lord is not grozen to those who revere in front of him, but graciously calls everyone, saying: "Come to me all the workers and burdened, and I will calm you" (). Soothing, strengthening and enlightenment of the soul is the goal of visiting the Church.
- The temple should come in pure and decent clothes, as required by the holiness of the place. Women should show Christian modesty and shame and not come in short or open dresses or in trousers.
Even before the entrance to the temple, women should erase lipstick from lips, so that when kissing an icon, bowls and cross do not leave the prints on them.
See: Antonov N., Sagnaya. Temple of God I. Church Services.
See Men Alexander, Archprier. Orthodox worship. Sacrament, word and image. - M., 1991.
See: EP. . Temple of God - Heavenly Islet on sinful land.
List of used literature
Desktop book of the priest. In 7 kN. T. 4. - M.: Embed. Moscow Patriarchate, 2001. - P. 7-84.
Bishop Alexander (Mileant). Temple of God - Heavenly Islet on sinful land.- www.fatheralexander.org/booklets/russian/hram.htm
God of God. - M.: New book: Ark, 2001.
On March 6, a meeting with composer of Coptic hymns, George Kirillos, was held in the premises of the Moscow Museum of the Russian Icon. Muscovites received a unique opportunity to hear live Coptic liturgical chants.
In the chapter on the iconostasis, the textbooks of the Law of God or the OPK are usually told about the high Russian Pyhyraulic iconostasis. But if we go to the temple, then far from always see the five rows of icons corresponding to the scheme from the book. Why for the story about the iconostasis, it is his Pyhyraulic species, tells the Archpriests of Sergius of Pravdnolubov, the abbot of the temple Life-class Trinity in Golenchev (Moscow), and Larisa Gacheva, icon painter, teacher PSTU
Accepted a year and a half ago, the Federal Law "On the transfer of religious organizations of religious property" became a milestone in the property relations of the church and the state. The next stage of such a program was the return of the Church of the famous Iverly icon of the Mother of God in May of this year. Whether the church will cope with the "museum" functions - it will show time, but for now NA has passed the fate of the most famous lists of the Iverk and other Icons of the Virgin
May 29, 1453, under the onslaught of the Turkish army, Konstantinople fell. For centuries, past since, were destroyed or facing hundreds of mosque orthodox churchesMany shrines are desecrated. But not all
Video about the work of the icon painters in the introduced optical desert cathedral in which the relics of the Rev. Amvrosia rest. Unique Frames: Masters write elder faces
Roman Minin lives in Kharkov and writes pictures where heroes are miners. The first exhibition of the artist in his native Donbass Donetsk officials closed for the "discrepancy" of the image of Shakhtar. Unlike the one-dimensional heroes of labor on posters, mining mining miners are not only working, but they suffer, pray to God, and he comes to the rescue.
"Fathers of the Local Cathedral of 1917-1918": Association Icon
At the unique icon, hierarchs that supported the patriarchant church are also presented, and the ROCZ leaders, and the leaders of the "right opposition" Metropolitan Sergia and the Holy One-People, in the twentieth century served in the Donikonovsky rites. Each time there is a bright history of martyrdom and confession, which cannot be forgotten.
They boil disputes around the results of the competition of the church of the Russian ones, on Big Lubyanka. 130 years ago in St. Petersburg, a competition of projects of another temple on blood was held. He also called Batalia. After the revolution, Alexander Benua even wanted to be ... blown away. What projects participated in the competition, as he passed, and who in Tsarist Russia decided to be a temple, and what?
You come to the temple with a penaltious feeling, and you hear Opera on the closer. This is especially confused by the great post. About the church and non-churchness of certain our closet chants tells Archpriest Vitaly Golovatutenko, the abbot of the christmas temple Blessed Virgin Mary at the St. Petersburg State Conservatory
Is it good novelty in liturgical music that the holy fathers speak about singing in the temple and whether there is a struggle between church and secular, - the story of the litagon singing continues the Archpriest Vitaly Golovatutenko, the abbot of the church of the Nativity of the Blessed Virgin Mary at the St. Petersburg State Conservatory
Church chants sound in secular, and how popular secular melodies are reincarnated for liturgical singing. What to do? The sharp theme of musical misunderstandings on the example of the examples of the arrangements of Vitaly Golotatutenko, the abbot of the christmas temple of the Blessed Virgin Mary at the St. Petersburg State Conservatory, the teacher of the department of ancient Russian singing art
In a casponic week, we deal with how the cross should look like on the temple. The photographer Inver Sheydaev devoted his whole life to picking up a collection of photographs of dome crosses of various shapes. We publish the most interesting pictures. Photo Gallery
How many temples in Moscow are now and how much is already built according to the program-200, what the temple is the biggest and which one erected for 2 months, how much it costs to build a temple and how much time the program is designed for the NA review.
Now a lot of disputes causes the construction of new temples in Moscow. We remember what resistance from officials needed to overcome believers to build a temple not only in the atheistic USSR, but also in Tsarist Russia.
Church architecture: First of all, it should be determined immediately - church architecture is significantly different from civil, both in style and in the functional plan. In church, the most significant symbolic meanings are hidden, there are other tasks and structural elements in it. The construction of a church type cannot be erected only focusing on spatial and stylistic considerations. Using the example of civil architecture, we can follow the way people equipped their housing ranges, but church architecture depicts the thorny path of man to God for many centuries. Nevertheless, in the historical plan, the temple architecture did not too differed of secular - often only more pronounced exteriority, as well as orientation outside; But in general, its stylistic canons laid in the framework of the dominant style, and sometimes they determined the direction of its development. The temple architecture today gradually becomes the object of careful research, even standards and standards for churches projects arise. Based on these rules, modern temples imply division into cathedrals, parish temples, monastic, as well as temples-monuments, tomb temples, house temples and institutions. In addition, church structures are divided into areas for capacity, predominant building material and on the principles of volume-planning design. Also classify the church architecture by the type of location, in the cities, often temples are divided into intra-quarted (in the field of residential building), located in the transportation unit (most often on the square or on a large street), and cultural and spiritual complexes (on the territory of the monastery or any Parish complex) Modern temple construction contains some features: - Understanding the reserved territory for the construction of temples - the need to build a significant number of churches and temples, including the regions of the new development - a lack of financing - construction, for the most part, not separate churches, and a number of temple complexes today , For the construction of the temple, the modern architect must take into account and comply with the basic normalized rules, namely: the orientations of the church on the East-West, the altar to the east, the indispensable wedding of the temple of the cross, separation of the altar from the part of the temple, where they are praying. Architecture, first of all, is the display of the Spirit modern society In the outside of the building. The ideological thinking of our society does not have the specifically established framework of his mooring, or rather, it is very motley, which finds the display in the architecture of the temple. It is difficult to talk about some styles of church architecture, because style is, first of all, what demonstrates itself in various types of art and develops in strict canons, but some style trends can be allocated. Most of the new temples are made in retrostils, in particular, ancient Russian, while in churches of wood style used in its pure form (as an example - the Church of Alexy Metropolitan in Medvedkov), and in stone - with modern trees (St. George Church on Poklonnaya Mount). Some temples are close to the style of the Russian art of the turn of 19-20 centuries (for example, the memorial chapel of Danilov Monastery). Some temples are built in classic style (Church of Boris and Gleb on Arbatskaya Square). In addition, Western modernism is becoming popular in church architecture, and individual architects are at all trying to create something completely new. All this may well exist, but when taking into account several factors. First of all, borrowing the techniques and elements from the past, you should not mind them thoughtlessly, because each historical style has assumed a certain ideology of his time. Any style taken should be upgraded and adapted to the current periods. Secondly, in this case it is impossible to talk about the universalization of architecture. The temple has a special social purpose, therefore its functionality is based on the Millenniums of the developed iconic symbolic system, which shows the biblical idea of \u200b\u200bbeing and universe. That is why the temple must be designed in accordance with clear church canonsAfter all, each church is a compatibility of the Holy Spirit.
Neil divided the ancient Egypt not only geographically, but also in terms of architecture.
Temples, residential and administrative buildings were erected on the eastern bank of the river. The funeral and clock buildings are on West.
Typical features of the temples of ancient Egypt
Egyptian temples were divided into three types:
ground. Architectural complexes in Karnak and Luxor are excellent examples of these temples, erected on open spaces;
rock. These buildings were cut into rocks. Always went out only the facade. Ramses II Temple in Abu Simbel is a rock type;
semi-aid. These are the temples that could combine the features of the first two types. The Tsaritsa Khatsepsut temple in the valley of the kings is partially outside, and partly - in the rock.
Ancient Egyptian temple was symmetrical in terms of. He began with the Sphinx Alley, who led to the pilots (from Greek. - Gate, trapezoid towers), in front of which the statues of gods and pharaohs were towering. Here was located obelisk - a materialized sunbeam.
The authorship of this element is traditionally attributed to the Egyptians. Leaving the pylons behind, the visitor gets into the courtyard, surrounded by columns - peristil. It is worth a hypostille - a column hall covered by sunlight falling through the ceiling lumets.
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The hypostylene could be located even smaller rooms, which, as a result, were given in the sanctuary. The further deep into the temple - the fewer people could get there.
The sanctuary was available only to the highest priests and pharaoh. Traditional construction material For temples - stone.
Temple complex in Carnac
The temple in Karnak was considered the main Egyptian sanctuary. It is traditionally located on the eastern bank of the Nile and is dedicated to the God of Amonu. This building recalls a small city in size (1.5 km by 700 m).
The construction of the temple began in the XV century BC. e. Not one pharaoh put the construction of the complex. Each of them arranged his temples and expanded the scale of the construction. The churches of Ramses I, II, III, Tutamos I and III and Pharaohs from the Ptolemyev dynasty are considered outstanding architectural buildings.
The complex consists of three parts and in the plan reminds the letter T. Entrance to the temple is framed by a pylon height of 43 m, which opens an extensive rectangular courtyard, furnished by papyrus columns. This courtyard ends with another pylon admissive of the visitor to the hypostyle hall.
Among the sets of columns, you can see the central passage, tinted with a height of 23 m. This is the highest hall in Egypt, the ceiling of which is towers in the center, relative to the side parts.
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Through the educated ledge in the hall there is a light that plays on the painted walls and columns. At the end of the hall - a new pylon, followed by a new yard. This system of halls led to the sacred room where the statue of God was kept.
From the south, the lake is adjacent to the temple, on the shore of which is located a scarab beetle from the granite of a lot of sizes. Sometime Karnakian sanctuary connected with the temple in Luxor of the Allle Sphinx. But now it is destroyed, some of the sphinxes remained intact time. They are located closer to the Karnak complex. This is the high statues of Lviv with the heads of the rams.
Temple complex in Abu Simbel
This temple was also erected by Pharaoh Ramses II in the XIII century BC. e. The construction refers to the type of rocky temples. At the input facade, gigantic statues of patrons of the pharaoh of the gods are exhibited: Amon, Ra and Ptah. Near them, the pharaoh itself in a sitting pose is adjacent. Interestingly, Pharaoh gave his appearance to all three gods. Next to him sits his wife - Nefertari with children.
This rocky temple is a complex of four halls. They decrease consistently. Access to them, except the very first, was limited. The latest room was available only by Pharaoh.