Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Moskva
MGOMZ
2013
|
| Schlagworte: | |
| Online-Zugang: | Abstract Register // Gemischte Register Inhaltsverzeichnis |
| Tags: |
Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
|
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV041948329 | ||
| 003 | DE-604 | ||
| 005 | 20160211 | ||
| 007 | t| | ||
| 008 | 140701s2013 xx ab|| |||| 00||| rus d | ||
| 020 | |a 9785913530332 |9 978-5-91353-033-2 | ||
| 020 | |z 5913530330 |9 5-91353-033-0 | ||
| 035 | |a (OCoLC)882520080 | ||
| 035 | |a (DE-599)BVBBV041948329 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a rus | |
| 049 | |a DE-12 | ||
| 084 | |a 7,41 |2 ssgn | ||
| 100 | 1 | |a Batalov, Andrej Leonidovič |d 1955- |e Verfasser |0 (DE-588)140647511 |4 aut | |
| 245 | 1 | 0 | |a Cerkovʹ Voznesenija v Kolomenskom |b architektura, archeologija, istorija |c A. L. Batalov, L. A. Beljaev |
| 264 | 1 | |a Moskva |b MGOMZ |c 2013 | |
| 300 | |a 202 pages |b zahlr. Ill., Kt. |c 33 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a In kyrill. Schr., russ. | ||
| 610 | 2 | 7 | |a Auferstehungskirche |0 (DE-588)4443856-4 |2 gnd |9 rswk-swf |
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Art museums, galleries, etc | |
| 650 | 4 | |a Monasteries. Temples, etc | |
| 650 | 4 | |a Orthodox Eastern Church | |
| 650 | 4 | |a Religious architecture | |
| 650 | 4 | |a Russian Church | |
| 650 | 0 | 7 | |a Architektur |0 (DE-588)4002851-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Archäologie |0 (DE-588)4002827-6 |2 gnd |9 rswk-swf |
| 651 | 7 | |a Kolomenskoje |0 (DE-588)4192567-1 |2 gnd |9 rswk-swf | |
| 655 | 7 | |0 (DE-588)4145395-5 |a Bildband |2 gnd-content | |
| 689 | 0 | 0 | |a Kolomenskoje |0 (DE-588)4192567-1 |D g |
| 689 | 0 | 1 | |a Auferstehungskirche |0 (DE-588)4443856-4 |D b |
| 689 | 0 | 2 | |a Architektur |0 (DE-588)4002851-3 |D s |
| 689 | 0 | 3 | |a Archäologie |0 (DE-588)4002827-6 |D s |
| 689 | 0 | 4 | |a Geschichte |A z |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Beljaev, Leonid Andreevič |d 1948- |e Verfasser |0 (DE-588)136328466 |4 aut | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Register // Gemischte Register |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 940 | 1 | |n oe | |
| 942 | 1 | 1 | |c 930.1 |e 22/bsb |g 471 |
| 942 | 1 | 1 | |c 200.9 |e 22/bsb |g 471 |
| 942 | 1 | 1 | |c 709 |e 22/bsb |g 471 |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-027391349 | |
Datensatz im Suchindex
| _version_ | 1819649680254959616 |
|---|---|
| adam_text | 199
Andrew L. Batalov, Leonid A. Belyaev
THE CHURCH OF THE ASCENSION IN KOLOMENSKOYE:
ARCHITECTURE, ARCHAEOLOGY AND HISTORY
OF THE MONUMENT1
When going out through the gate arch of the Tsar s courtyard in Kolomenskoye (the ancient
summer residence of Grand Dukes of Moscow and Russian Tsars), one suddenly sees a wide flood
basin of the Moskva River and the river stretches of fields and gardens disappearing over the hori-
zon, a running down steep slope and in the center of all that and over it is an unusual, unique and
skywarding church. It seems that the church is held by a light but solid net of white stones with
diamond facing. It is the Church of the Ascension built in 1532, a masterpiece of Russian and world
architecture, inscribed in 1994 on the UNESCO list of the World Cultural Heritage. The Church
of the Ascension is a pearl of one of the largest museums in Moscow — MSIMR (The Moscow
State Integrated Art and Historical, Architectural and Natural Landscape Museum-Reserve), Since
the museum was opened in 1926, its main purpose was to preserve and study its architectural mas-
terpiece. Today great attention is paid to its protection, restoration and use (including traditional
church functions).
The Church of the Ascension is a unique example of the interaction of cultural traditions.
One of the pillars of European architecture of the Early Modern period, it combines Eastern
Christian (Byzantine), Medieval (Romanesque and Gothic) and Old Russian architectural tradi-
tions, putting them together within the frames of European Renaissance architecture. It played
an important role in the creation of Russian tent-like churches. Its conical roof originated the whole
branch of the church architecture opening the sequence of grand monuments from the Interses-
sion Cathedral (St. Basil s Cathedral on the Red Square in Moscow) to the countless Russian bell
towers of 17th — 18th centuries. Thus all architectural schools/trends of Christian countries met
in the Church of the Ascension and it also became a starting point for the Russian national architec-
ture.Building of this church was the incarnate supplication of the ageing Grand Duke of Moscow
Vasili III and his young wife Elena Glinskaya to God for an heir to the throne ֊ that supplication
sounded all over the country. The Church could have been founded in 1530 ex voto - to carry
out Vasili s vow after the birth of Ioann Vasiliyevich (future Tsar Ivan the Terrible) or even earlier,
in winter 1528/1529, when the ruling couple made pilgrimage to the monasteries all over the coun-
Церковь Вознесения Господня
и церковь-колокольня Святого
Георгия в Коломенском
Фото 2011 г.
1 This summary was written as
a translation of the booklet The Church
of the Ascension in Kolomenskoye -
a world architectural masterpiece
and a UNESCO monument by
Leonid A. Belyaev. It was published In
2009 by the Government of Moscow and
MSIM R. The text was edited for the book.
200
THE CHURCH OF THE ASCENSION IN KOLOMENSKOYE
try, vowing to build churches and leaving considerable funds for it. Consecration of the church
on 3rd September, 1532 became a real jubilee for the court of the Grand Duchy and for the Ortho-
dox Church (this event was mentioned in the official chronicle). The church was consecrated by
the highest-ranking Orthodox Church bishop — Metropolitan of All Rus Daniil (Daniel) together
with Rostov archbishop, Kolomna and Krutitsy bishops as well as Archimandrites, Fathers Superior
and clergy. There was the ruling couple (Vasili III and Duchess Elena) with their little son Ivan
and brothers of the Grand Duke: Georgy Ivanovich and Andrei Ivanovich. The grand feast given
by Grand Duke Vasili III lasted for three days and various presents were given to the Metropolitan
and to Grand Duke’s brothers.
At those times the architecture of the Church of the Ascension could surprise not only
Muscovites ֊ in Muscovy the remaking of traditional cross-cupola Byzantine churches was
prevailing - but Europeans as well: this temple resembled many buildings but did not copy any.
It was a completely new phenomenon: a church created not per pattern but on the basis of inde-
pendently developed ideas of a patron and an artist.This unusual church was ordered by the Grand
Duke of Moscow for his summer estate. Here in Moscow suburbs Vasili had certain freedom for
construction activity, as he was not obliged to follow the customary Byzantine canon of the church
form (arched, with five large domes and three semicircle apses) for his domestic church. In his
main official residence in Kremlin he had no such freedom.
The Church, consecrated in honor of a great Christian feast — the Ascension of Our Lord
into Heaven — was positioned on the high hill of the Moskva River bank, where the landscape
itself fits the church topography of the Ascension of Jesus Christ, which took place on the Mount
of Olives near Jerusalem. Everything in this church is full of thought and symbols, starting with its
enormous height (62 meters) for those times, that remained impressive even today.
The architect of the church was Petrok Maloy or Pietro (Francesco?) Annibale probably
born in Lombardia. We can only speculate about the ideas and plans of this architect, but it is
clear that he focused his efforts on expressing by the architectural means the idea of an attempt
to ascend upwards, to the sky.This attempt can be felt starting with the basement of the church.
The architect, who was used to base buildings on the rocks of Northern Italy, did not want to take
any risks and built the foundation unique not only for Russia. The bottom of a huge foundation pit,
dug in the slope of the river terrace was strengthened by piles and then a solid limestone founda-
tion was constructed inside and pasted by strong solution. This basement narrows a little upwards
and it is 7.8 meters deep (in the west) and up to 4.5 meters deep (in the east). The largest amount
of stone is concentrated in the western side, further from the slope, forming a kind of an anchor
clutching at it and preventing the huge temple from slipping gradually down the mountain. This
large artificial rock (the area of the platform is 600 — 650 square meters (26x24 meters), the volume
is 4000 cube meters), creating the basement of the church, reminds one of a well-known Evangelic
line: and on this rock I will build My church (Matthew 16:18). Traces of the artificial rock, sunk
in the slope of the hill, can be seen on the surface: small grass stylobate looks like a natural jut
of a regular form, but in fact it is the edge of the foundation, covered with earth and laid down to
grass. The stylobate additionally lifted the church up and forward over the steep slope of the river.
Further lift is produced by rhythmically put pylons of arches of the ground level of the gallery sup-
ported by the edge of the hand-made rock.
The church is framed by the double-level walking gallery with wide stairways. (Such
walking galleries in combination with a high central size can be found in the project drawings
of the great theoreticians of Italian Renaissance, but neither in Italy nor in other European coun-
tries were they put into practice). There are three porches leading to the gallery ֊ their stepped
vaults start parallel to the facades and suddenly turn orthogonally to three portals. These rising
porches relieve the giant body of the temple from visual heaviness, preventing us from feeling
the compressive pyramidal mass and connecting the church to the ground, at the same time
making the composition dynamic, which was so important to the creators. Here we notice not
only the rationality of the Renaissance but also the abruptness and unexpectedness of the turns,
characteristic of the approaching Baroque.
The main element and the main innovation of the church s composition is its tent-roof:
oblong polyhedral pyramid rising up to the sky. Masterly designed proportions of the tent, massive
and at the same time light, are emphasized by ribs (laid along all the facet) and diamond-shaped
white-stoned nets thrown like beads over the red brick tent (such faceting was used by Italian
masters only for building of the Hall of Facets ( Granovitaya Palata ) in the Moscow Kremlin at
201
ARCHITECTURE, ARCHAEOLOGY AND HISTORY
OF THE MONUMENT
the end of the 15th century). This tent is a far descendant of the great line of the European church
architecture, which starts in the Holy Sepulchre in Jerusalem and is followed by many churches,
built (since the 12th century) by the members of knightly orders, pilgrims from the Holy Land
in Italy, Germany, Spain and England. This tent aggregates recollections of the Palestinian sacred
places and its rearranging by the architects of the Latin Kingdom, of numerous New Jerusalems
standing on the Mediterranean crossroads of the pilgrims routes from the medieval Bari to Santiago
de Compostela.The tent is placed on the pier of the tetragon and the octagon. Everything in their
facades follows the idea of vertical motion: all corners of the church are strengthened by pilas-
ters from inside and outside — in fact these are separate pylons, connected by partitions; and
the peaked triangles of the gablets put on these partitions seem to be trying to top the pier level.
Rising upwards is demonstrated not only by the facade of the church but by its interior too, where
the constructive and artistic principles are interlaced. The tent is enormous but it does not require
such thick walls (their thickness in the cruciform lower part is 2,5 — 3,0 meters) which reduce
the inner space to approximately 70 square meters (8,5x8,5 meter). But it intensifies the dynamics
of the space, making us look up freely along the vertical walls of the tetragon and the sloping tent
to the height of 41 meters towards the almost invisible small blind dome.
Light, which is very important for any sacral building, is equally dynamic. It penetrates
the church through the peculiarly located windows. Lower part of the church is illuminated
through the openings cut not in the walls but in the corner extensions of the tetragon; four windows
of the main tier are arranged in the facades of the cross s extensions; windows of the octagon are
made crosswise but at random in the opposite facets of the tent. There are also small slit-like win-
dows of the stairway facing the facade and incide the octagon (the stairway goes inside the wall,
rounding the octagon from the south-west). These windows are of two types: rectangular ones
and arching ones in the octagon (there are niches instead of windows on the facets).Ground floor
(substructure) has a constructive purpose: it bears the whole church. There is no data on its use for
church services, and there are no signs of burials, which are often found in basements of Russian
churches of the 16th — 17th centuries. In the basement there are no windows (the openings, includ-
ing two slit-like loopholes in the eastern and southern walls give almost no light and provide
ventilation). The liturgical organization of the church is unusual. Its general plan is the cross with
short equal ends and without semicircular apses which were important for a traditional Orthodox
church. Eastern wall is absolutely flat outside and inside. To the west of the central basement there
is a technical narthex — an element typical of centrally-planned churches less comfortable for
the regular church service. The wide walking gallery surrounding the church together with its altar
part allowed conducting cross-bearing processions. But it was not typical of the Medieval Russian
Orthodox architecture to have any constructions on the eastern side (behind the altar) — this gal-
lery was the first of its kind in the Russian architecture.
In the centre of the gallery s eastern facade with a picturesque view of the river flood
basin there is a stone throne. There are many legends about this throne but its liturgical role is still
unclear. We can assume that it is a unique Tsar s place. The stone carved decor of the throne —
the high back with flutes, the semicircular conch, filled with the stone oak branches, the side slats
with floral ornament (leaves of acanthus), the legs in the form of paws - is definetely of the Renais-
sance origin and is typologically close to the numerous thrones of the Mother of God, depicted
on canvases of the Italian painters of 15th — 16th centuries.
The architecture of the Church of the Ascension has zero historical analogues either
in the Old Rus or in Byzantium. For a long time it was presumed that the church reproduces a Rus-
sian wooden tent church in stone (the 16th century text says that the top of the church is made per
sample of the wooden one ). However, such conical tops were also widely used in Western Europe
in churches, chapels and belfries while in Russia this form is mostly typical of an altar canopy and
other liturgical furniture. Today it is clear that the Church of the Ascension is an outstanding
achievement of the world architectural thought and a result of the seventy-year-old (1470s —
1530s) collaboration of Italian architects, Russian builders and their patrons. It is the apotheosis
of the style which can be fairly called Russian-Italian. The Church of the Ascension is the last
of such brilliant monuments as the Kremlin, the Hall of Facets, Assumption and Archangel Michael
Cathedrals as well as dozens of other buildings. Western training of the creators of this church is
proved by their confident and free handling of order and its classical motives (it may be noticed
in the details of the original carving found by archeologists); by using the same order in the interior
202
THE CHURCH OF THE ASCENSION IN KOLOMENSKOYE
and on the facades; by turning to Russian (kokoshniks) and gothic (gablets) motives; by the way
the illumination is arranged; by how the construction and the decor are planned and combined.
The church in Kolomenskoye is not a work of a builder, who was trained within the Byzantine
tradition; it is a creation of an engineer of the Early Modern period, a specialist in geometry and
architectural theory. The geometrical strictness and the church plan (a square with the four prolon-
gations in the form of a Greek cross) are new for Russia. But the architects of the High Renaissance
were interested in the idea of a centrally planned church; it is reflected in the sketches of Peruzzi
and Michelangelo for the St. Paul s Cathedral in Roma, in illustrations for the treatise of Sebastiano
Serlio, in the plans of the church San Sebastiano in Mantova (Alberti, 1470), Santa Maria delle
Carceri (Guliano da Sangallo, 1485) and others.
Replacing the dome with the multifaceted pyramid can be explained as an architectural
quotation, referring to the most important Christian building — the Church of the Resurrection
of Christ in Jerusalem. Its replicas were extremely numerous and important for the translatio
of the loca sancta (venerated places of the Holy Land, and especially of the Holy Sepulchre)
in Europe since Early Christianity. Some of those buildings, erected in the 12th — 13th cc. in Pisa
(one of the main crossroads for pilgrims), with its centrally-planned domed constructions are
extremely close to the Church of the Ascension in Kolomenskoye (the Baptisterium; the Holy
Sepulchre of the Templars; the St. Agatha Chapel; Santa Maria della Spina).
Conical ceiling in Renaissance was as well associated with the antique tradition of the obel-
isk-like monument (for instance, in architectural fantasies of Guliano da Sangallo). Thus the cre-
ator of the Church in Kolomenskoye came closely to the idea of a church-monument, a kind
of an obelisk, risen to the walking gallery on arcades, resting upon the expanded platform; this idea
was developed in the 15th century by Antonio Filarete (Averlino), a theoretician of architecture.
The Church of the Ascension is freestanding and is visible from all sides; it is distinctly elevated
above the ground; its interior and exterior are given equal importance. The Church of the Ascen-
sion is the key to understanding the method of Italian builders work in Rus, their way of meeting
artistic requirements of Russian patrons and giving them new ideas of status and representa-
tiveness. By the beginning of 1530s Muscovites, who had been absorbing Europeanized forms
of palace and fortress architecture for almost half a century, got used to them. Later the European
way of the state and palace life style started to spread - from the state symbols (emblems, seals,
coins) to the city planning and cannon casting. Innovations were being accepted with evident
limitations, though. In Moscow we have no examples of objects significant for Italian cities —
separate columns, porticos and loggias. It is not a coincidence that the first real attempt to change
the defined forms of an Orthodox building symbolically and liturgically was made only by the end
of Vasili Ill s reign. The Church of the Ascension is one of the important but little-known in Europe
products of the Renaissance. Its creation involves Russia in the process of the Early Modern period
formation, although it went unnoticed because builders who worked in Russia did not come back
to Europe and their creations remained unknown in the West until the 19th century. The architect
of the Church of the Ascension made a wonderful work, putting his impressions of Muscovy into
practice and developing them on the basis of his European cultural experience and technological
abilities. Interaction of cultures was two-way. Russia gave the Italian artists a rare opportunity to
incarnate their ambitious fantasies into real buildings. For 60 - 70 years Moscow became a testing
ground for the Renaissance masters conducting an important creative experiment. Their creations
were unnoticed in Europe due to political and religious contradictions, due to the intricate and
sophisticated form of the buildings themselves and simply due to the geographical remoteness
of Russia — but the creations of Italians in Russian soil remain a unique architectural message
to future generations.
The use of this unique architectural monument is successfully combined with its pres-
ervation. It is used as a museum and (limitedly) for the church service. Nowadays the Church
of the Ascension is the Russian Patriarchate s Metochion. Its clergy is appointed by and reports
to the Russian Orthodox Patriarch. The services are held in the church only during the main Ortho-
dox feasts and during the rest of the time the church is a museum. In the church s ground floor there
is a special exposition, dedicated to the church s history and the stages of its restoration. Temporary
exhibitions are also held there. Instrumental and choral concerts are conducted in the main hall
of the church. Such a variety of functions determined the way the restoration of the interior
of the Church of the Ascension was conducted, where the ancient transoms iconostasis, lost during
the Soviet period of Russian history, was recreated.
198
СПИСОК СОКРАЩЕНИЙ
EdAM —Enciclopedia dell Arte Medievale. Roma, 1991 —2001. Voi. 1—12
ВИА — Всеобщая история архитектуры
ГБЛ —Государственная библиотека им. В. И. Ленина
ГИМ — Государственный исторический музей
ГММК - Государственные Музеи Московского Кремля
ГНИМА — Государственный научно-исследовательский музей архитектуры им. А. В. Щусева
ГЭ —Государственный Эрмитаж
ДРИ — Древнерусское искусство
ИЗ — Исторические записки
ИКРЗ — История и культура Ростовский земли
КМИ — Коломенское. Материалы и исследования. Вып. 1—13. М., 1991—2011
КСИИМК — Краткие сообщения о докладах и полевых исследованиях
Института истории материальной культуры
МГОМЗ - Московский государственный объединенный музей-заповедник
МИА - Материалы и исследования по археологии СССР
МОП ВНТО — Международное объединение проектировщиков
Всесоюзное научно-техническое общество
МР — Московская Русь
ПСРЛ — Полное собрание русских летописей
ПЭ — Православная энциклопедия
РАИМК — Российская академия истории материальной культуры
РГАДА — Российский государственный архив древних актов
РГАЭ — Российский государственный архив экономики
РГГУ - Российский государственный гуманитарный университет
РГИА — Российский государственный исторический архив
РИБ — Русская историческая библиотека
РНБ — Российская национальная библиотека
СА — Советская археология
ТОДРЛ - Труды Отдела древнерусской литературы
ЦГРМ — Центральные государственные реставрационные мастерские
ЦНРПМ — Центральные научно-реставрационные проектные мастерские
ОГЛАВЛЕНИЕ
ВВЕДЕНИЕ б
Глава I. СЕЛО, КНЯЖЕСКИЙ ДВОР И ХРАМ: ОБЗОР ИСТОРИИ 13
Глава II. ХРАМ И ВОКРУГ НЕГО: АРХЕОЛОГИЯ ЦЕРКВИ ВОЗНЕСЕНИЯ,
ГЕОРГИЕВСКОЙ КОЛОКОЛЬНИ И ЦЕНТРАЛЬНОЙ ПЛОЩАДИ 30
Глава III. ИССЛЕДОВАНИЯ ЦЕРКВИ ВОЗНЕСЕНИЯ ГОСПОДНЯ
В КОЛОМЕНСКОМ 68
Глава IV. ШАТРОВЫЕ ХРАМЫ ВТОРОЙ ТРЕТИ XVI ВЕКА
И ЦЕРКОВЬ ВОЗНЕСЕНИЯ ГОСПОДНЯ В КОЛОМЕНСКОМ:
ВЫРАБОТКА НОВОГО ТИПА 116
Глава V. ХУДОЖЕСТВЕННЫЙ ОБРАЗ, СЕМАНТИКА
И ПРОБЛЕМЫ ГЕНЕЗИСА АРХИТЕКТУРНЫХ ФОРМ
ЦЕРКВИ ВОЗНЕСЕНИЯ ГОСПОДНЯ 132
Глава VI. ЦАРСКОЕ МЕСТО 156
ЗАКЛЮЧЕНИЕ 178
СПИСОК ЛИТЕРАТУРЫ И ИСТОЧНИКОВ 185
ИМЕННОЙ УКАЗАТЕЛЬ 192
ГЕОГРАФИЧЕСКИЙ УКАЗАТЕЛЬ 195
СПИСОК СОКРАЩЕНИЙ 198
THE CHURCH OF THE ASCENSION IN KOLOMENSKOYE:
ARCHITECTURE, ARCHAEOLOGY AND HISTORY
OF THE MONUMENT
199
|
| any_adam_object | 1 |
| author | Batalov, Andrej Leonidovič 1955- Beljaev, Leonid Andreevič 1948- |
| author_GND | (DE-588)140647511 (DE-588)136328466 |
| author_facet | Batalov, Andrej Leonidovič 1955- Beljaev, Leonid Andreevič 1948- |
| author_role | aut aut |
| author_sort | Batalov, Andrej Leonidovič 1955- |
| author_variant | a l b al alb l a b la lab |
| building | Verbundindex |
| bvnumber | BV041948329 |
| ctrlnum | (OCoLC)882520080 (DE-599)BVBBV041948329 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02792nam a2200589 c 4500</leader><controlfield tag="001">BV041948329</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20160211 </controlfield><controlfield tag="007">t|</controlfield><controlfield tag="008">140701s2013 xx ab|| |||| 00||| rus d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9785913530332</subfield><subfield code="9">978-5-91353-033-2</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">5913530330</subfield><subfield code="9">5-91353-033-0</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)882520080</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV041948329</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">rus</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">7,41</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Batalov, Andrej Leonidovič</subfield><subfield code="d">1955-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)140647511</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Cerkovʹ Voznesenija v Kolomenskom</subfield><subfield code="b">architektura, archeologija, istorija</subfield><subfield code="c">A. L. Batalov, L. A. Beljaev</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Moskva</subfield><subfield code="b">MGOMZ</subfield><subfield code="c">2013</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">202 pages</subfield><subfield code="b">zahlr. Ill., Kt.</subfield><subfield code="c">33 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">In kyrill. Schr., russ.</subfield></datafield><datafield tag="610" ind1="2" ind2="7"><subfield code="a">Auferstehungskirche</subfield><subfield code="0">(DE-588)4443856-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Art museums, galleries, etc</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Monasteries. Temples, etc</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Orthodox Eastern Church</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Religious architecture</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Russian Church</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Architektur</subfield><subfield code="0">(DE-588)4002851-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Archäologie</subfield><subfield code="0">(DE-588)4002827-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Kolomenskoje</subfield><subfield code="0">(DE-588)4192567-1</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4145395-5</subfield><subfield code="a">Bildband</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Kolomenskoje</subfield><subfield code="0">(DE-588)4192567-1</subfield><subfield code="D">g</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Auferstehungskirche</subfield><subfield code="0">(DE-588)4443856-4</subfield><subfield code="D">b</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Architektur</subfield><subfield code="0">(DE-588)4002851-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Archäologie</subfield><subfield code="0">(DE-588)4002827-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Geschichte</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Beljaev, Leonid Andreevič</subfield><subfield code="d">1948-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)136328466</subfield><subfield code="4">aut</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Register // Gemischte Register</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">930.1</subfield><subfield code="e">22/bsb</subfield><subfield code="g">471</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">200.9</subfield><subfield code="e">22/bsb</subfield><subfield code="g">471</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">709</subfield><subfield code="e">22/bsb</subfield><subfield code="g">471</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-027391349</subfield></datafield></record></collection> |
| genre | (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Bildband |
| geographic | Kolomenskoje (DE-588)4192567-1 gnd |
| geographic_facet | Kolomenskoje |
| id | DE-604.BV041948329 |
| illustrated | Illustrated |
| indexdate | 2024-12-24T04:09:46Z |
| institution | BVB |
| isbn | 9785913530332 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027391349 |
| oclc_num | 882520080 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 202 pages zahlr. Ill., Kt. 33 cm |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | MGOMZ |
| record_format | marc |
| spellingShingle | Batalov, Andrej Leonidovič 1955- Beljaev, Leonid Andreevič 1948- Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija Auferstehungskirche (DE-588)4443856-4 gnd Art museums, galleries, etc Monasteries. Temples, etc Orthodox Eastern Church Religious architecture Russian Church Architektur (DE-588)4002851-3 gnd Archäologie (DE-588)4002827-6 gnd |
| subject_GND | (DE-588)4443856-4 (DE-588)4002851-3 (DE-588)4002827-6 (DE-588)4192567-1 (DE-588)4145395-5 |
| title | Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija |
| title_auth | Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija |
| title_exact_search | Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija |
| title_full | Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija A. L. Batalov, L. A. Beljaev |
| title_fullStr | Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija A. L. Batalov, L. A. Beljaev |
| title_full_unstemmed | Cerkovʹ Voznesenija v Kolomenskom architektura, archeologija, istorija A. L. Batalov, L. A. Beljaev |
| title_short | Cerkovʹ Voznesenija v Kolomenskom |
| title_sort | cerkovʹ voznesenija v kolomenskom architektura archeologija istorija |
| title_sub | architektura, archeologija, istorija |
| topic | Auferstehungskirche (DE-588)4443856-4 gnd Art museums, galleries, etc Monasteries. Temples, etc Orthodox Eastern Church Religious architecture Russian Church Architektur (DE-588)4002851-3 gnd Archäologie (DE-588)4002827-6 gnd |
| topic_facet | Auferstehungskirche Art museums, galleries, etc Monasteries. Temples, etc Orthodox Eastern Church Religious architecture Russian Church Architektur Archäologie Kolomenskoje Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027391349&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT batalovandrejleonidovic cerkovʹvoznesenijavkolomenskomarchitekturaarcheologijaistorija AT beljaevleonidandreevic cerkovʹvoznesenijavkolomenskomarchitekturaarcheologijaistorija |