Abstract
The main content of the considered stage is the adoption of Christian art, and the main guide here was the art of Byzantium. The periods of activation of asceticism in Byzantium outline the chronological boundaries of the relevance of art of more strict norms in Rus’: the second half of the 11th – the fi rst half of the 12th century. In various kinds of art stylistically similar features were observed that are close to the ascetic direction: a disproportionately conditional transmission of fi gurative plots, a geometrized transmission of motifs of fl oral and zoomorphic ornament. At the end of the 11th – the beginning of the 12th century classicistic interpretation of fi gurative subjects and a more curvilinear interpretation of ornamental motifs were manifested. The considered works were stylistically close; at this time, they constituted an ensemble. These are works of monumental painting and miniature; of stone, bone and wood carving; adornments and cult items of jewelry techniques – cloisonné enamel, niello, fi ligree; artistic treatment of metal – chasing, engraving, embossing and casting; gold embroidery. This ensemble includes works with exact dates. The chronology is supported by dated complexes of ancient Russian temples, the time of construction and decoration of which is known. The basis of absolute chronology is supported by dendrochronological dating of works from Novgorod the Great. The dated artifacts from the cultural layer of other cities and settlements do not contradict it. As a result, the chronological arrangement of items from the hoards is reinforced. For further Russian art of the middle of the 12th century tendencies to create a more “lively”, natural and more curvilinear image in all forms of art and jewelry techniques will be typical. A truly “golden mean” style will come in Rus’ art.
Keywords
Rus’, Byzantnine Empire, decorative art, monumental art, stylistic analysis, comparative analysis, parallels.
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