Историко-художественное значение неовизантийского стиля в храмовых росписях М.М. Васильева

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Abstract: The subject of this study are temple paintings, drawn in neo-Byzantine style in the late XIX - early XX century by M.M. Vasiliev. Master's artistic original is unique among pictural samples presented to the Byzantine mode of execution. This work is supposed integral to shed light on biographical facts and stages of the creative path of the artist, as well by the examples of some works of art, to conduct analysis of the features brushwork by M.M. Vasilyev in comparison with samples of neo-Byzantine style in the works of V.M. Vasnetsov.Based on the undeniable Spirit-bearing samples temple painting Byzantine X-XII centuries and their social and artistic significance, research methodology of this study is a comparative analysis of the painting MM Vasilyev style neo-Byzantine style, generated by V.M. Vasnetsov. Critical appraisal of these artists works will contribute to the identification of essentially ideological importance and the effectiveness of their approaches of mode of execution wich are necessary for the upliftment of the society within the temple environment. The result of investigation of neo-Byzantine style of painting is supposed to separate M.M. Vasiliev creative approach from the conventional concept of "Vasnetsov school", as between them there are fundamental differences in the interpretation of images and compositions. Also, it seems appropriate to define a circle collaborated with M.M. Vasiliev, artists, which includes A.P. Blaznov, F.M. Vahrushev, F.R. Railean, L.A. Pyanovsky et al.Mural temples accomplished with Vasiliev, marked by deep penetration into the medieval image. Without departing from current trends, the master saves ideological Vasnetsov national direction, simultaneously breaking, subordinating and an introduction to the idea of communion with God Nouveau style. For contemporary art is genuine, what distinguishes painting Vasiliev and artists of his circle, can be a, figuratively speaking, the ragged ends of the thread, which stretched to the modern religious art, it will be possible to revive the friendly, lively, creative language of temple imagery, nwithout philosophize and not mindlessly copying but creating freely and truely.

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