Monumental Painting of Altars of Vyatka Churches between the 19th and Early 20th Centuries

Abstract

Monumental church construction began after the approval of the Vyatka diocese in 1657. Since the original decoration of the Vyatka altars is hardly preserved, the article mainly considers monuments of the nineteenth and early twentieth centuries. The authors aim to analyse the altar monumental painting of Vyatka churches of the nineteenth and early twentieth centuries which has not been done previously, revealing its special features, as well as the peculiarities of wall painting in general. The researchers analyse visual photographic, bibliographic, and historical archival documents collected as a result of many years of expeditions and studies. The methodology of the research involves the use of iconographic and stylistic analysis, as well as the application of the historical and cultural approach. The article considers features of local monumental painting, architectural and designing characteristics. It is demonstrated that most of the preserved altars with wall painting date back to the nineteenth and early twentieth centuries, apart from a few interiors of the eighteenth century. Additionally, the authors examine the issue of introducing the iconography of locally venerated saints into the programme of church painting. It is revealed that a substantial part of the paintings is made following the religious national style and according to the “examples” of the local Vyatka artist V. M. Vasnetov. Special attention is paid to important epigraphic resources, i.e. altars which have dates and authors’ signatures. The characteristic phenomenon for local wall painting is a tendency to freedom in dealing with examples and using various sources while fulfilling contracts. Referring to written data, the authors establish that the works were carried out by both local masters and those from elsewhere and reflected the financial condition of the parish. As a result of iconographic and stylistic analysis, it is found out that the decoration of the Vyatka altars was generally traditional and relied on the examples of the main churches of the capitals in terms of programme formation, as well as artistically and stylistically.