Программа росписей Покровского собора г. Барнаула как элемент иеротопического проекта

Abstract

The article presents the analysis of the program of monumental painting of Pokrovsky Cathedral of the city of Barnaul. The need in the detailed analysis of paintings of the temple lies is explained by the fact of their unsatisfactory state. Especially it can be seen in the southern nave where some of the images have been strongly damaged. The analysis was carried out from the point of view of an hierotopy - the concept of the organization of sacral spaces. The studies of the spatial imagery of the temple was carried out at three levels: the theological idea of the temple, the substantial plan of the images, and definite factors, such as customer's wishes, the value of church, samples for iconic imitation. The time of formation of the isographic ensemble of Pokrovsky Cathedral of the city of Barnaul, the periods of reconstruction and renewal of separate picturesque elements and compositions is designated. It is established that a considerable part of picturesque fund of the temple represents the imitational works of the Russian orthodox isographists of the second half of the 19th century, in particular, of painters of a Vasnetsov's circle. Religious plots intertwine with historical events, creating the complete art ensemble representing narrative icon-ographic space. During the research the scheme of the placement of the paintings of Pokrovsky Cathedral of the city of Barnaul has been made. According to the narrative-theological logic, the programs of monumental painting of three naves - Central, Southern and Northern and also the altar niches - an altar, consecrated in the memory of of the miracle of the Protection of the Theotokos, a side-altar of the Saint Great martyr Panteleymon and a side-altar of the Saint Blessed prince Alexander Nevsky are described (nowadays the Icon of the Mother of God “Consolation of All Who Sorrow”). The semantic, the liturgical and the theological loading of each site of isographic ensemble of the temple is defined. Paintings of the arch, walls and columns are described. The key motives which have formed the basis of each isographic program are designated. The space of the central nave is devoted to the history of Russian Orthodox Church, the Southern nave narrates about the events of the Manifestation of Christ to His disciples. Communication of separate art elements with the theurgical project of the temple as with the spatial icon, their correlation, creating complex isographic “sounding” which, in turn, defines the dynamics of the liturgical action is revealed. The hi-erotopical analysis in studying of art and liturgical space of the temple will help as with the restoration of orthodox church art culture, and with the creation of new harmonious theurgi-cal systems in construction of new temples.