International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2014)

The Influence of Ancient Rus Religious Art Elements

on Russian Modern Paintings

Lin Shen
Art College, Shandong Women’s University
Jinan, Shandong
e-mail: [email protected]

Abstract—Based on the first-hand materials collected when Any art form has its own law of development and the rise
he studied in Moscow State Surikov Academy of Fine Arts, the and fall. When its dominant function declines, the implicit
author undertakes the research on the historical evolution, value is increasingly remarkable. Its significance and influence
artistic connotation and the formation of Russian traditional often go beyond the art itself.
Orthodox art. From the perspective that the root of Russian art
lies in the national feelings and the artistic spirit bred by Travelling in Moscow, Modern painting pioneer Matisse
orthodox culture, this paper aims to analyze its influence on appreciated the orthodox art and lamented: "This is the real
modern culture and contemporary value so as to expand national art with the origin of the artistic exploration. Modern
research perspectives of the Russian art and enlighten the artists should derive the inspiration from these ancient arts.”
connotation of in-depth study. “Some excellent orthodox murals, icon painting of Ancient
Moscow and Novgorod not only proved the long history of
Keywords—Russia; nationality; orthodox culture; modern Russian national culture, but also demonstrated its greatness."
influence In his reply to the question that what impression the ancient
Russian art left on him, he said that the Russians even had not
I. INTRODUCTION expected that they had so much rich artistic wealth. More and
Traditionally people regard the development process of more young people can enjoy the most excellent and
Russian art as the branch of European art, which is influenced incomparable foreign art examples in their own country.
by various western cultures in different periods of history. It is French artist ought to come to Russia to study. Italy has been
indeed so superficially. However, when you probe into Russia just a little bit worse in this regard." In terms of the depth of
spiritually, you will find that Russian fines art progress is in an painting spirit and language expression, Matisse revealed the
effort to get rid of foreign influence. The fulcrum is the things that even the Russians were not clearly aware of at the
nationality, in other words, it is the orthodox culture and time with his insight and sensitivity.
traditional folk art that exert great influence on the constitution At the beginning of twentieth Century, at the same time
of its nationality. that the Russian artists comprehended its ethnic and religious
Ancient Rus church was firstly built in Kiev in tenth spirit, they also began to feel its artistic connotation, which
Century. In the "golden age" of ancient Rus art in 14---15 was the aesthetic significance of forms as well as materials and
century, Greek Feofan Greco was the representative of this techniques, and created an opportunity for a new pattern of
style. By fifteenth Century, local painters in large numbers Russian modern and contemporary art.
sprang up and the Russian national painting school eventually In contemporary Russia, nearly eighty percent of people
formed in Moscow. The most outstanding representative is believe in orthodox, which occupies a special position in the
Andrey Roublyov. The ancient Russ orthodox art had Russian social life and ideology. Russia is experiencing a
experienced the introduction and fusion of Byzantine Empire, revival of religion. The new construction, reconstruction and
and then formed its national style. By the late fifteenth Century, restoration of the church are in head way, which makes much
local painters represented by Gionis came to a successful essence of Russia's ancient culture and the Byzantine artistic
conclusion. In seventeenth Century, the ancient Russian style got inherited in whole, becoming the living fossil for
architectural style featured by "Moscow Baroque" came to an people to understand the ancient religious art. As Russia had
end and since then, the orthodox art fused with and penetrated not experienced the baptism of European Renaissance, such
into secular painting and gradually got separated from it. The essence of the medieval religious art which lasted until today
Westernization eventually won the victory over Byzantium in in its original form provides abundant historical materials for
the intensifying confrontation. After eighteenth Century, along artistic creation, college teaching and academic research.
with reformation of Peter the Great, Orthodox tradition art had
been away from the Byzantine Church spirit and that of
ancient Rus, and replaced by classical, practical and secular
style.

© 2014. The authors - Published by Atlantis Press 611

 II. THE INFLUENCE OF ORTHODOX ARTISTIC ELEMENTS ON At the beginning of the twentieth Century Moscow was
RUSSIAN MODERN PAINTINGS the most exciting place for the artists of the world. It was the
natural place for the cooperation between artists and radicalism,
In nineteenth Century, many painters bosomed different
the regeneration place for Russian culture. The avant-garde art
understanding of the orthodox spirit and started the creation
had become the most beautiful landscape of Russian culture in
about religion. The realistic interpretation of religion by
this period. In 1910, the exhibition entitled " Prince Diamond”
itinerants russia was one of the important reasons causing the
was held in Moscow. The three books painted as the props in
attention and controversial of the people at the time. As a
Mashkov’s “Self-portrait with Peter" revealed the "mystery of
historical painter, Barenov was proficient in Bible and at the
modern Russian style: the book for "Cezanne" represented the
same time, he undertook deep study of Biblical Archaeology
impact of European modern paintings on Russia; the book of
and Jewish culture. In his religious paintings, what happened
"Bible" implied the Russian religious spirit and the root of
in the Bible matched with historical and geographical
Slavonic nationality; the book of "Art" symbolized that the art
knowledge. In his painting "who is not guilty", the characters’
achieved the inversion of “modern art" with the help of these
clothing, landscape of holy land and daily necessities were all
two elements.
testified by the "Biblical Archaeology".
Kandinsky seemed never to have his art associated with
On the halfway from Moscow to Sergi St. Trinity
orthodox, even in his book of "On Art Spirit". However, on the
Monastery, the Abramtsevo estate of Mamontov who was the
trip to the Floygrada in northern Russia, he wrote in his diary:
famous literature and art patron wass located there. In the
"I was shocked at the door. Tables, stools, huge stove and
second half of the nineteenth Century, a group of famous
cupboards were full of bright-colored original pattern. I found
Russian painters and musicians gathered here who were
myself surrounded by walls of picture and felt myself also a
engaged in artistic activities related to ethnic, religious and
part of the picture." In Moscow, he saw the churches in a fairy
traditional culture. “It is full of the spirit of Rus and the breath
tale, which made him experience the illusion of old Russia,
of Rus here." The painter Barenov described the manor
which he later experienced in the Bavarian church again. He
atmosphere with the words of Pushkin. The orthodox spirit,
believed that the production of works of art was like the
national history, legends and folk art here become artists’
formation of universe needing to experience the chaos and
origin of creation. Arts and crafts of "Russian style" created by
catastrophe and only born out of "sounds of nature". In his
the carpenter shop run by the Vasnetsov and pottery workshop
spiritual kingdom, there was always a mysterious core, which
run by Vrubel were of great influence and collected as the
he contributed to Russian aesthetics, as was shown in his
exceptional art works by people. A small Orthodox Church
"Legend of Russia" "Saints" and “Series of Construction”.
was constructed in Mamontov garden, which marked an
important moment, namely the moment that orthodox tradition In 1969 the French Ministry of culture decided to build
was inherited by Russian artists in the late nineteenth Century. "national Chagall" Bible "message Gallery” in Nice. In his late
Mamontov decided not to hire an architect. The painters years, Chagall lived a life of recluse on St Paul hill in Brunei
Vasnetsov, Repin, Barenov and him assumed the missions of in southern France. The diligent painter was like a saint and
designing and decoration. Carving patterns was undertaken by never ceased to explain the "Bible". He worked for thirty years
Barenov. Mosaic floors were paved according to Vasnetsov's for "the Bible" illustrations, which was the best interpretation
religious works. Vrubel made tiles-veneered fireplace. Repin's of his life and art. He timely conveyed the "Bible" message.
painting of "Christ" was like the shroud of Turin, simple and Chagall's cabin, flowers, calf, candlestick, churches and those
dignified, naturally created, full of mysteries, becoming the dreamlike flying lovers brought people into the mural
spiritual symbol of the church. atmosphere of Russian medieval cathedral and the mystery of
Russian folk tales. Poetry, God and children constructed
Known as the "Russian Rafael", Vasnetsov presided over
Chagall’s supernatural spiritual yearning and sacred art. He
the drawing of "Almighty Christ" series of paintings in the
said: “In the realms of theology and religion, I am
Kiev Vladimir church. The new image of murals was
enlightened."
repeatedly copied as template. Vrube left the Academy of Fine
Arts in 1884 and began the restoration and repair drawing The beginning of Malevich's paintings attributed to the
works of Kirillov cathedral in Kiev. He had spent long time icon painting and Chapel frescoes. He said: “In my early stage
studying the spiritual connotation and pattern characteristic of of painting, I just imitated icon painting and attempted to
Byzantine art as well as the unique color beauty of the church combine icon painting with folk art." In early twentieth
mosaic, which achieved the artistic style combining his Century the "Wet Mural drawing", "Christ’s shroud" and other
religious spirit, national sentiment and mysterious personality, works were the variants of the church murals. He said: "The
opening the access to the modern Russian art. The painter study of icon art has convinced me that it is not the question of
Nesterov which was active before and after the revolution of learning anatomy or perspective, nor the question of restoring
October was with a certain mysterious religious spirit and the natural truth, but the artistic intuition and ability of
national complex. He was born in a deeply religious orthodox experiencing the reality of artistic reality." From his "Harvest
family and developed vegetarian habit. He did not describe the Woman” painted in 1912 which was of cubism tendency, the
plot of "Bible" directly, but involved religious spirit and influence of the woman image in the dry mural in JaRuslav
emotion in paintings. His representative work of "Juvenile cathedral on him can be seen clearly. He created the "black
Bartholomew" was regarded by artist Nua as "one of the most diamond" of "supremacy" which was a sacred relic hint,
religious poetry and wonderful paintings pathos in the last ten known as an icon which was not accepted by people but by the
years nineteenth Century."

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revolution. He said: "My black diamond is a naked frameless
icon of our time."
REFERENCES
Tatlin was known as the "founder of constructivism". This
[1] Florovski, Georgy. Translated by Wu Andi. Russian Religious
was not only because he created the famous "Monument to the Road[M].Shanghai Century Pubishing House. 2006.8.
Third International" in 1920, but also he advocated non- [2] Sergeyevich Urie, Ryabtsev. Translated by Zhangbing, Wang Jiaxing.
utilitarian constructivist art in 1917. In 1883 he began his art Russia of Thousands of Years [M]. SDX Joint Publishing Company.
career by the icon painting and studied painting in icons 2007.11.
drawing room in Moscow and JaRuslav. He had taken Russian [3] M.P.Zezyna. Translated by Liu Wenfei, Suling.The History of Russian
traditional art including fresco as the source of inspiration for Art[M]. Shanghai Translation Publishing House.2005.7.
creation. The critic Nicola Puning, the colleague of Tatlin's [4] Xi Jingzhi. Art History of Russia and Soviet Union[M]. Tianjin Fine
said: “The influence of Russian folk art on Tatlin would be Arts Press. 2000.1.
undoubtedly greater than that on Cezanne or Picasso." The [5] "Annunciation Cathedral of Moscow kremlin" About 500 years unique
sculptor and critic Mavit pointed out: "the resonance of color, anniversary. I. YA. Kachalova, N.A. Mayasova, L.A. Shchennikova,
Art Moscow1990.
sound of materials, and combination of texture lead people to
[6] "Ancient Rus PAINTING Mosaic murals ikons" A.A.edytseva
beauty, religion and God. The real world is achieved by the M.K.Karger N.I.Kresalyny 1991.
real, concrete objects and mosaic, • • • • • orthodox art spirit
and decorative material character are undoubtedly implied in
Tatlin's "modern abstract art."
In 1991 the Soviet Union disintegrated and political
consciousness in art gradually disappeared. Artistic pluralism
was taken as the standard brought into the field of painting. A
new generation of artists sprang up rapidly and they were the
generation of free artists. They broke away from the former
Soviet Union's "mainstream culture" and also got tired of using
others’ language to express their national theme. They were
seeking in the ruins. They thought that the creation of artists
not only depended on the real image, but on the "civilized
feelings"; it not only paid attention to the nature, but also the
spirit. This expression must be achieved through thinking and
imagination, combining personal exploration with cultural
tradition as well as the eternal value. They tried to build the
aesthetic value of the ontology of art, deepened the spiritual
connotation of art, trying to find the art style which can exist
independently and a new, extremely localized art without the
ideology.

III. CONCLUSION
One characteristic could be found by the analysis of the
modern and contemporary Russian art trend and style that in
the rising trend of the nationalism and religious revival, they
realized that there was great potential influence of the national
spirit, the orthodox culture and folk art on the formation of
new art. Despite their different pursuits, understanding and
expression forms, they’d made the same efforts in the pursuit
of modernization, internationalization, individualism and
diversification and at the same time, tried to get them fused
with more national, religious and traditional elements as well
as the real feelings and the natural ecological concept so as to
build the basic framework of the Russian contemporary art
value system.
Researches on the Russian Orthodox artistic value and its
cultural influence has reference value and practical
significance for a comprehensive understanding of Russian art
and its value orientation; for expanding and updating research
paths of the progress of Russian art history and art creation; for
reflecting on the gains and losses of the studies of Russian art;
for exploring Chinese art creation and theoretical study of how
to inherit ethnic and folk cultural heritage.

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