Jewelry art of Kiev Rus. Russian jewelry art of the XII-XV centuries

23.07.2019

Jewelry art of ancient Russia

Wonderful art of ancient Russian jewelers of the era
Yaroslav the Wise and Vladimir Monomakh amazed
European travelers who visited Russia at that time.
For many centuries it has been forgotten. However, through the efforts
Russian archaeologists in the XIX-XX centuries
ancient masters have found new life.
Hundreds and thousands of ornaments were mined from underground,
created by the masters of the X - early XIII century. Exhibited in museum showcases, they are able to enchant the modern
fashionista and arouse deep, sincere admiration for the artist.

In ancient times, Russia was influenced by several developed cultures at once. In medieval Kiev, whole neighborhoods were inhabited by foreigners: Greeks, Jews and Armenians. The harsh warriors and dexterous traders from Scandinavia brought the subtle pagan art of the Viking Age to the Russian lands. Merchants from the East are a colorful and intricate ornament, so beloved in the countries of Islam. Finally, Christianity, adopted from the powerful Byzantine Empire, which stretched out on the shores of the Mediterranean and Black Seas, linked Russia with the high artistic culture of this state. Byzantium was at that time the beacon of civilization in barbarian Europe and the keeper of ancient knowledge bequeathed by the era of antiquity. But along with Christianity, Russia for several centuries preserved persistent pagan traditions. The complex, highly developed religious system of East Slavic paganism became an important source of creative imagination of ancient Russian painters, sculptors and jewelers.

The Mongol-Tatar invasion turned out to be disastrous for many secrets of jewelry art. The masters who owned them perished in the dashing time of Batu's defeat or were hijacked by the Horde to serve their rulers. For a whole century, the skill of ancient Russian jewelers was in decline, and only in the middle - the second half of the XIV century. its slow revival began.

JEWELRY TECHNIQUES

In the era when Kiev was the capital of the Old Russian state, Eastern Slavs loved to adorn themselves with many jewelry. Cast silver ornamented rings, twisted silver wire bracelets, glass bracelets and, of course, beads were in vogue. They were very diverse: from colored glass, rock crystal, carnelian and rubies, large hollow beads of cast gold. To them were hung round or moon-shaped bronze pendants (lunettes), decorated with delicate ornaments: unprecedented magical animals in the Scandinavian style, intricate wicker structures, very reminiscent of images on Arab dirhams - coins that were in circulation at that time both in Russia and in Europe.

But the most popular adornments were the temple rings. Cast silver temporal rings were woven into a woman's hairstyle at the temples or hung from headdresses, they were worn in one or several pairs at once. Each East Slavic tribe that became part of the Kiev state had its own special type of temporal rings, unlike those of its neighbors. Northerner women, for example, wore a dainty variety of rings that looked like curls or flattened spirals. The Radimichs liked the temporal rings more, in which seven rays diverged from the bow, ending in teardrop-shaped thickenings. On the temporal rings of the Vyatichi, which were one of the most decorative, instead of rays there were seven flat blades.

Townwomen of the XI-XIII centuries. most of all they loved kolts - paired hollow gold and silver pendants that were attached with chains or ribbons to the headdress. Many kolts that have survived to this day are distinguished by an amazing perfection of shape. In 1876, several pairs of kolts of the 12th - early 13th centuries were discovered in a rich hoard near the village of Terekhovo, Oryol province. They are massive five-pointed stars, densely covered with thousands of soldered tiny balls of metal. This technique is called gritting; it came from Scandinavia and was widespread in Ancient Russia. Along with grain, filigree was also used: the thinnest silver or gold wire, twisted with bundles, was soldered onto plates or twisted into openwork patterns. In 1887, on the territory of the ancient Mikhailovsky Golden-Domed Monastery, another treasure of jewelry of the 11th-12th centuries was found, including a pair of gold kolts. Kolts were decorated with river pearls and images of fantastic birds with female heads. The colors of the images have not lost their brightness, and their combination is extremely exquisite: white, turquoise, dark blue and bright red. Meanwhile, the master who created this splendor died about eight centuries ago. Mikhailovsky kolts are made in the virtuoso jewelery technique of cloisonné enamel, which was adopted from the Byzantines. This forgotten art required patience and astounding precision in its work. On the surface of the gold jewelry, the jeweler soldered on the edge the thinnest gold ribbons, partitions, which formed the outline of the future drawing. Then the cells between them were filled with enamel powders of different colors and heated to a high temperature. This produced a bright and very durable glassy mass. Cloisonne enamel products were very expensive, so it is no coincidence that most of the works that have survived to this day are details of expensive princely attire.

Another favorite technique of ancient Russian jewelers was blackening, which, according to some scholars, was the Khazar heritage. Mobile was a complex alloy of tin, copper, silver, sulfur and other components. When applied to a silver surface, the niello created the background for the embossed image. Blackening was especially often used when decorating folding bracelets. Several dozen of these 12th century bracelets. kept in the State Historical Museum. On them it is easy to distinguish figures of musicians, dancers, warriors, eagles and fantastic monsters. The plot of the drawings is far from Christian ideas and much closer to paganism. This is not surprising. Jewelers used enamel or blacken both for the depiction of Christ, the Mother of God, saints, and for griffins, dog-headed monsters, centaurs and pagan festivals.

There were both purely Christian and purely pagan jewelry, which were the objects of religious cults. Numerous encolpion pectoral crosses have survived, consisting of two doors, between which were placed the particles of the relics of the saints. The doors usually had a cast, carved or blackened image of the Mother of God with the Child. No less often archaeologists find pagan amulets - items that protected from disease, misfortune and witchcraft. Many of them are cast figurines of horse heads, to which "bells" are attached by chains, made in the form of animals, birds, spoons, knives and grips. With their ringing bells were supposed to drive away evil spirits.

Kolty

Kiev, XII century.
Gold; forging, cloisonné enamel

Kolty. Kiev. XII century

Kolts with paired birds.
Front side. XII century

Kolts with paired birds.
Reverse side. XII in

Kolty. Front and back sides.
End of the XI century.

Jewelry craft in Ancient Russia.

Teacher Sizova O. A

Women-jewelers are more characteristic of pre-Christian Russia, since already in the 10th century men began to engage in casting, and clay and stone molds began to be used more often. Embossing and engraving are added to the casting.
The jewelery art of Russia reaches its greatest flowering in the XII - XIII centuries.

In ancient times, Russia was influenced by several developed cultures at once.
The harsh warriors and dexterous traders from Scandinavia brought the subtle pagan art of the Viking Age to the Russian lands. Merchants from the East - a colorful and intricate ornament. Finally, Christianity linked Russia with the high artistic culture of Byzantium.

Eastern Slavs loved to adorn themselves with many jewelry. Cast silver ornamented rings, twisted silver wire bracelets, glass bracelets and, of course, beads were in vogue.

They were very diverse: from colored glass, rock crystal, carnelian and rubies, large hollow beads of cast gold. They were hung with round or moon-shaped bronze pendants (lunettes), decorated with delicate ornaments: unprecedented magical animals in the Scandinavian style, intricate wicker structures.

But the most popular adornments were the temple rings. Cast silver temporal rings were woven into a woman's hairstyle at the temples or hung from headdresses, they were worn in one or several pairs at once.
Each East Slavic tribe that became part of the Kiev state had its own special type of temporal rings.

Mikhailovsky treasure

In 1887, on the territory of the ancient Mikhailovsky Golden-Domed Monastery, a treasure of jewelry of the 11th-12th centuries was found, including a pair of gold kolts. Kolts were decorated with river pearls and images of fantastic birds with female heads. The colors of the images have not lost their brightness, and their combination is extremely exquisite: white, turquoise, dark blue and bright red.

For many centuries, the jewelry skill of ancient Russia was forgotten. However, thanks to the efforts of Russian archaeologists in the 19th-20th centuries, the creations of ancient masters found a new life. Hundreds and thousands of ornaments created by the masters of the 10th - early 13th centuries were mined from underground.
Exhibited in the windows of museums, they are able to enchant the modern woman of fashion and arouse deep, sincere admiration for the artist.

Jewelry craft

Jewelry art of Ancient Russia

Jewelry art in Ancient Russia flourished already in the era of Yaroslav the Wise and Vladimir Monomakh (10th, early 13th century), striking with its beauty the European travelers who visited Russia at that time.

In those distant times, our country was influenced by several developed cultures (Greek, Jewish, Armenian, Scandinavian, Islamic and, of course, Byzantine). All this, of course, could not but find its reflection in the jewelry business, where the motives of East Slavic paganism, the delicate art of the Viking era, intricate oriental motives and Christian elements were intricately intertwined.

Some monuments of ancient Russian jewelry art have gained immense fame - articles and books are written about them, their photographs are placed in albums dedicated to the culture of pre-Mongol Rus. The most famous is "Chernigov hryvnia", or "Vladimir Monomakh's hryvnia". This is a chased gold medallion of the 11th century, the so-called serpentine, on one side of which is depicted a woman's head in a ball of eight snakes, symbolizing the devil, a pagan deity, or an evil inclination in general. Prayer in Greek is directed against illness. On the other side is the Archangel Michael, called upon to defend the owner of the hryvnia from the devil's intrigues. The inscription, made in Slavic letters, reads: "Lord, help your servant Vasily." It was a genuine Christian amulet against evil spirits. The plot and the very technique of execution of serpentine torcs were borrowed from Byzantium; in the pre-Mongolian time, jewelry of this kind was not uncommon. "Chernigov hryvnia" is made with extraordinary skill and should have belonged to a rich, noble person, most likely of princely origin.

The value of this jewel is equal to the value of a prince's tribute from an average city.

The medallion was found in 1821, near the city of Chernigov, which in ancient times was the capital of the principality. The inscription indicating the identity of the owner - Vasily - prompted historians that the hryvnia belonged to Vladimir Monomakh (1053-1125), who was given the name Vasily at his baptism.

The vast majority of the jewelry art monuments of Ancient Rus are anonymous - history has not preserved the names of the remarkable masters who created the "Chernigov hryvnia" or kolts from the Mikhailovsky hoard. Sometimes only the jewels themselves "let slip" about their creators. So, craters - precious silver bowls for holy water, created in medieval Novgorod of the 12th century, bear inscriptions in which the names of the masters Kosta and Bratyla are reported.

The famous Polotsk educator of the 12th century, Princess Abbess Euphrosinia in 1161, ordered a cross for contribution to the Spassky Monastery founded by her. The six-pointed cross, about half a meter high, was made of cypress wood and covered above and below with gold plates decorated with precious stones.

Already by the 20s. XX century, almost all the stones were lost, but it is known that there were about two dozen of them. The stones were fixed in sockets on gold plates, and between them the master inserted twenty enamel miniatures depicting saints. The name of each saint is minted next to the image. Christian relics were kept inside the cross: the blood of Jesus Christ, particles of the relics of Saints Stephen and Panteleimon, as well as the blood of Saint Dmitry. The shrine was overlaid with silver plates with gilding, and the edges of the obverse were framed with a string of pearls. In the eyes of believers, relics made the cross more precious than the gold and silver used by the jeweler. Unfortunately, this greatest shrine and recognized masterpiece of jewelry was lost during the 1941-1945 war.

Another masterpiece of ancient Russian jewelry is the helmet of Yaroslav Vsevolodovich, currently adorning one of the showcases of the Armory Chamber of the Moscow Kremlin: now its iron is already rusted, and only the silver lining still shines with a pure shine. On the overlays that adorn the top of the helmet, images of Jesus Christ, the Archangel Michael and selected saints are minted. The work belongs to Novgorod masters and is made at a high artistic level. The history of the helmet itself is associated with important political events.

Already in that distant era, jewelry art firmly entered the life of ordinary people: it is known that Eastern Slavic women loved to adorn themselves with many jewelry. Cast silver ornamented rings, twisted silver wire bracelets, glass bracelets and, of course, beads were in vogue. They were very diverse: from colored glass, rock crystal, carnelian and rubies, large hollow beads of cast gold. They were hung with round or moon-shaped bronze pendants (lunettes), decorated with delicate ornaments: unprecedented magical animals in the Scandinavian style, complex wicker structures, very reminiscent of images on Arab dirhams - coins that were in circulation at that time both in Russia and in Europe ...

The most popular adornments were the temple rings. Cast silver temporal rings were woven into a woman's hairstyle at the temples or hung from headdresses, they were worn in one or several pairs at once. Each East Slavic tribe that became part of the Kiev state had its own special type of temporal rings, unlike those of its neighbors. Northerner women, for example, wore a dainty variety of rings that resembled a curl or flattened spiral. The Radimichs liked the temporal rings more, in which seven rays diverged from the bow, ending in teardrop-shaped thickenings. On the temporal rings of the Vyatichi, which were one of the most decorative, instead of rays there were seven flat blades.

Townwomen of the XI-XIII centuries, most of all, loved kolts - paired hollow gold and silver pendants, which were attached with chains or ribbons to a headdress. Many kolts that have survived to this day are distinguished by an amazing perfection of shape. In 1876, near the village of Terekhovo, Oryol province, several pairs of kolts of the 12th - early 13th centuries were discovered in a rich hoard.

They are massive five-pointed stars, densely covered with thousands of soldered tiny balls of metal. This kind of jewelry technique is called grain, it came from Scandinavia and was widespread in Ancient Russia. Along with grain, filigree was also used: the thinnest silver or gold wire, twisted with bundles, was soldered onto plates or twisted into openwork patterns. In 1887, on the territory of the ancient Mikhailovsky Golden-Domed Monastery, another treasure of jewelry of the 11th-12th centuries was found, including a pair of golden kolts, which were decorated with river pearls and images of fantastic birds with female heads. The colors of the images have not lost their brightness, and their combination is extremely exquisite: white, turquoise, dark blue and bright red. Mikhailovsky kolts are made in the virtuoso jewelery technique of cloisonné enamel, which was adopted from the Byzantines. This forgotten art required patience and astounding precision in its work. On the surface of the gold jewelry, the jeweler soldered on the edge the thinnest gold ribbons, partitions, which formed the outline of the future drawing. Then the cells between them were filled with enamel powders of different colors and heated to a high temperature. This produced a bright and very durable glassy mass. Cloisonné enamel products were very expensive, so it is no coincidence that most of the works that have survived to this day are details of a rich princely attire.

Another favorite technique of ancient Russian jewelers was blackening, which, according to some scholars, was the Khazar heritage. Mobile was a complex alloy of tin, copper, silver, sulfur and other components. Applied to a silver surface, the niello created the background for the embossed image. Blackening was especially often used when decorating folding bracelets. Several dozen of these 12th century bracelets are kept in the State Historical Museum in Moscow. On them it is easy to distinguish figures of musicians, dancers, warriors, eagles and fantastic monsters. The plot of the drawings is far from Christian ideas and closer to paganism. This is not surprising. Jewelers used enamel or niello to depict Christ, the Mother of God, saints, as well as griffins, dog-headed monsters, centaurs, and pagan festivals.

Many of them are cast figurines of horse heads, to which "bells" are attached by chains, made in the form of animals, birds, spoons, knives and grips. With their ringing bells were supposed to drive away evil spirits.

Nowadays, temple rings, kolts and many other works of medieval Russian jewelry art are collected in museums. Particularly rich collections belong to the State Historical Museum, the Armory Chamber of the Moscow Kremlin and the Patriarch's sacristy.

The Mongol-Tatar invasion turned out to be disastrous for many secrets of jewelry art. The masters who owned them perished in the dashing time of the Batoev defeat or were hijacked by the Horde to serve their rulers. For a whole century, the skill of ancient Russian jewelers was practically in decline, and only in the middle - the second half of the XIV century, its slow revival began.

Jewelry art is the manufacture of various products, usually from precious metals using gems. Initially, such things served not only for beauty, but also in order to emphasize the high social status of the owner or owner. Also, magical functions were often attributed to jewelry. They were used, for example, as protective amulets and talismans. The history of jewelry art is rooted in antiquity. Initially, the creation of jewelry did not involve any processing. Over the centuries, art has improved, craftsmen have created more and more sophisticated and sophisticated jewelry. Let's trace the history of the jewelry craft and name it the eminent craftsmen.

Ancient Egypt

The art of jewelry was surprisingly well developed in Ancient Egypt. Decorations created there are still striking in their beauty and complexity. In form, they usually resembled images of ancient deities. In Ancient Egypt, it was believed that adornments perform magical functions: they protect against diseases and evil spells, connect a person with the forces of nature.

They were supposed to wear jewelry on certain parts of the body. First of all, it was the area of the heart (it was considered the most significant organ). To protect him, scarab-shaped items were worn on the chest. The beetle symbolized vitality, activity, resurrection. In addition, the middle of the forehead was an important point. The ancient Egyptian craftsmen, making jewelry for her, used symbols of strength and wisdom, for example, images of a snake. Speaking about the technique of making products, it can be noted that chasing and engraving were usually used, and the Egyptians' favorite materials were gold, silver, obsidian and amethyst.

Ancient Greece

The ancient jewelry art in Greece was distinguished by great grace and subtlety. The favorite technique of the masters was filigree - making an intricate pattern from thin gold or silver wire soldered to a metal background. Most often, a floral ornament was used: images of flowers, leaves, grapevines.

Of all the materials, gold was valued most of all - magical properties were attributed to this metal. In general, jewelry emphasized the status of the owner, so the finer and more difficult the work was, the more expensive it cost. Wealthy Greek women wore a wide variety of jewelry. Fine hair and neck products and bracelets were held in high esteem. The only exception was Sparta - local women did not wear lush and fancy jewelry, preferring simple metal jewelry.

Renaissance Jewelcrafting

Renaissance jewelry is striking in its sophistication, beauty and sophistication. Craftsmen used a variety of techniques, including chasing, cutting and enamel. They were largely influenced by ancient traditions, at the same time, features typical for those years were also introduced.

So, jewelry no longer indicates the status of the owner, but rather emphasize the sophistication of taste and imagination. They become unique and distinctive. Gems, pearls and exquisite enamel details adorn not only jewelry, but also lush ladies' outfits. Signet rings and massive pendants are gaining popularity.

In Germany, craftsmen use very unusual materials in their work: coconut shells, ostrich eggs and shells.

Jewelers of Ancient Russia

Russian jewelry has a great history. This is evidenced by the modern quality and subtlety of the work of ancient craftsmen amaze even now. Jewelry was influenced by the Scandinavian, Eastern and Byzantine cultures, and at the same time was inextricably linked with folk customs and traditions.

Masters from all corners of Kievan Rus perfectly mastered the most complex techniques, including artistic casting, filigree and gold tip. Veliky Novgorod was famous for its jewelry made of precious metals. Kiev jewelers processed gems with extraordinary skill. The most common adornments were the so-called ones that were woven into the hair or hung from headdresses. Also, women wore a variety of bracelets and beads with pendants.

Russia in the XIV - XVII centuries

With the advent of the Tatar-Mongol hordes, the jewelry business was forgotten for almost a century. Many craftsmen died or were taken away to work for the Horde rulers. Only towards the end of the XIV century began a gradual return to ancient art. Moscow is becoming the center of jewelry craft, where the silver filigree technique is very popular.

In the 16th - 17th centuries, jewelry art actively uses enamel and gems. The jewelry of this period is characterized by richness, brilliance and richness of colors. The stones also differ in brightness - sapphires, rubies, emeralds are held in high esteem. This time is called the heyday of the blackening technique. In many cities, centers for silverwork are being created.

18th century European jewelery

In the 18th century, the dominant styles were Baroque and Rococo. This also applies to jewelry. Quirkiness, splendor and bright colors are becoming fashionable. At the same time, the leading position is occupied by French jewelry art. It was then that the jewelry acquired its modern look. Jewelry ensembles are gradually coming into fashion; large brooches are very popular with wealthy people. The most favorite stones are diamonds of yellowish, pinkish and bluish shades, while they are used in both men's and women's suits.

Russia in the 18th century

Jewelry flourished in Russia in the 18th century. This was largely due to the reforms of Peter I. Since then, jewelry has been actively borrowing European trends, while maintaining its originality. Foreign craftsmen often come to Russia. Among them is the famous Jérémie Pozier, who worked at the court for thirty years and created true masterpieces of jewelry art. His best work is considered to be the Great Imperial Crown, made for Catherine II. This unique product contains almost five thousand diamonds. Now this relic is carefully guarded by a unique museum of jewelry art - the Diamond Fund in Moscow.

In general, the use of gemstones became popular around this time. Sparkling, vibrant, superbly crafted and decorated, they perfectly complement and adorn the lush outfits of noble ladies and nobles.

Interestingly, the very word “jeweler” also came into use in the 18th century. It replaced the rather long name “goldsmith and silversmith”.

Europe in the 19th century

In the middle of the 19th century, jewelry became more widespread. At the same time, less valuable stones and materials began to be used: aquamarine, malachite, artificial diamonds. The art of jewelry has also changed the general style - classicism is replacing the rococo, accordingly, the jewelry becomes more rigorous and carefully worked out. Jewelry with precious stones is gradually ceasing to be used in men's suits, but knobs for walking sticks and expensive snuff boxes are becoming fashionable.

Of the famous masters, one can single out the court jeweler of Napoleon I, Martin Guillaume Bienne. In the 19th century, world famous houses such as Cartier and Tiffany were born.

State of affairs in Russia in the 19th century

The art of jewelry in Russia reached the highest level in the 19th century. At this time, the direction of work changed significantly, the craftsmen tried to leave European traditions and returned to the primordially Russian ones, giving the products a national flavor. River pearls are becoming especially fashionable.

Large enterprises of silver and gold business appeared in St. Petersburg and Moscow. The firms of Ovchinnikov, Postnikov, the Grachev brothers are especially famous and, of course, with their amazing skill they conquer not only the Russian nobility, but also the royal courts of Western Europe. However, their products are also available to the ordinary buyer - we are talking about cigarette cases and silverware.

According to experts, the late XIX - early XX century is the golden age of Russian jewelry art.

The twentieth century

In the last century, a large number of trends have been formed in the art of jewelry. In the first decades, the dominant style was modern. In the art of jewelry, his influence was realized in the extreme complexity of the forms and ornamentation of jewelry. Platinum and palladium are actively used. Diamonds are gaining popularity again. Jewelry is also becoming fashionable, the distribution of which was significantly influenced by the famous Coco Chanel.

In the war and post-war years, products become simpler, gold is often replaced by bronze. In the second half of the century, under the influence of non-conformist ideas, craftsmen began to use unusual materials in their work, previously unthinkable for jewelry: wood, plastic, steel and others. With the development of sophisticated technology, jewelry with chameleon stones appears, which can change color depending on temperature changes or the mood of the owner. Cultured pearls of various colors are becoming popular.

In the Soviet years, Russian jewelry firms produced mostly mass products. But at the end of the last century, modern craftsmen decided to revive the guild of Russian jewelers in order to return the art of jewelry to its former glory.

Modern Art

Today, jewelry craft, perhaps even more than before, is becoming an art. Jewelry is one of the forms of creative expression. Modern businesses use more professional tools and materials available. Moreover, many products are made of synthetic materials. And although they cannot surpass natural stones in beauty and perfection, they still compete with them with dignity.

Modern jewelry continues the traditions of old masters with dignity. And the use of new technologies allows you to create more and more unusual and interesting jewelry.

Russian jewelry art, presented in the first hall of the Armory, covers the period from the 12th to the beginning of the 17th century.
Russian goldsmiths in Kievan Rus possessed the same techniques and techniques for processing precious metal that were used by craftsmen in Western Europe and Byzantium. These methods penetrated into Russia thanks to trade and diplomatic ties. But there are not many monuments of ancient jewelry art from the times of Kievan Rus. Some items were found during archaeological excavations, others are accidentally discovered treasures.
The basis of the Armory collection is the products of Russian craftsmen of the 16th-17th centuries.

Showcase 2. Russian gold and silver items of the XII-XV centuries. Russian jewelry art of the XII-XV centuries

The most ancient Russian monument of the 12th century is a silver bowl. It belonged to Prince Vladimir Davydovich of Chernigov.

This form of the product has existed in Russia since the 10th century. The only decoration on it is the inscription by which the owner of the bowl was identified. The drinking bowl was intended to be circular, when each, as a sign of belonging to a family or squad, drank a little from a filled vessel and passed it on to another. When the bowl went around the full circle of the audience, all the participants in the feast became “brothers”. Later, such bowls were called “brothers”.

For many centuries, Vladimir Davydovich's bowl lay in the ground. In 1852 it was found on the site of Saray-Batu, the former capital of the Golden Horde Khanate on the Volga. Until now, historians have not been able to figure out how the bowl ended up in the Sarai. Perhaps the Polovtsians captured it during one of the raids on the Russian land. But it is possible that the bowl has nothing to do with the military raids of enemies. The wife of Vladimir Davydovich, who was killed in the internecine war, remarried the Polovtsian Khan Bashkord. It is possible that the cup was among her dowry. It is also worth noting that the Chernigov prince Vladimir Davydovich himself was a cousin of Prince Igor, the hero of The Lay of Igor's Regiment.

Women's jewelry. Temple rings. Russian jewelry art of the XII-XV centuries

The exhibition features women's jewelry. Very often, such decorations made up the entire family treasury. The most common female jewelry is temple rings for attaching to a headdress.

Most often, they were attached to a ribbon and the ribbon, already folded in two, was sewn on the sides of the headdress, hair follicle. Most often, the temporal rings were made in the form of a five-pointed star. The smallest balls with a diameter of 0.04-0.05 cm were planted in a ring with a diameter of 0.06 cm. There are up to 5,000 such silver grains on each of the jewelry. The technique of soldering myrkoscopic rings was well known in pre-Mongol Rus.

Chalice. Russian jewelry art of the XII-XV centuries

The masterpiece of the collection is a silver chalice made by Vladimir-Suzdal craftsmen. It is a very slender bowl with proportionate parts.

One of the medallions adorning the chalice contains the image of St. George. The chalice comes from the Transfiguration Cathedral in the city of Pereslavl Zalessky. Therefore, historians believe that the chalice most likely belonged to Yuri Vsevolodovich, the grandson of Yuri Dolgoruky.

Ryazan treasure. Russian jewelry art of the XII-XV centuries

The famous Ryazan treasure is apparently part of the grand ducal treasury, which was hidden during the siege of the city by the hordes of Batu in 1238. When the peasants plowed the field in the spring of 1822, they found a pot of jewelry. The vessel was hit by a plow, it crashed and the rare items of pre-Mongolian jewelry presented in the showcase rolled out of it.

Barmas and Kolts

The treasure includes the symbols of the Grand Duke's power - the barmas.

There are also kolts among the found items. The technique of decorating these jewels is cloisonné enamel, filigree, precious stones. Historians have not yet figured out the purpose of kolt. It can be assumed that this is a woman's jewelry, but each disc weighs 400 g, in total - 800 g.

Therefore, it is difficult to imagine that such a heavy piece of jewelry could be worn by a woman. Maybe the kolts were the adornment of the icon frame.

Filigree and filigree. Russian jewelry art of the XII-XV centuries

Kolts and barmas are decorated with the finest golden lace - filigree. Filigree is the laying out of patterns with gold thread on a metal surface.
The ductility of gold made it possible to draw a thread up to 2 km long from 1 g of metal! Then the gold wire was rolled through a special roller and a flat ribbon was obtained. It was put on the edge and in this way the patterns were laid out.

In Russia, this technique was even more difficult, because the gold ribbon was additionally twisted like a string. Therefore, the Russian filigree technique is called filigree, from the words skat, twist, twist. The patterns were rather convex, because the filigree was applied in several layers.

The first Russian saints Boris and Gleb are depicted on the kolts.

On the bars in the center is the image of the Mother of God, on the sides - Saints Irina and Barbara. The images of the saints are made using cloisonné enamel technique.

Cloisonne enamel. Russian jewelry art of the XII-XV centuries

First of all, a drawing was applied to a gold or silver surface with a sharp object. The contours of the drawing were reinforced with a gold ribbon, and then filled with enamel in several stages. Enamel is a glassy mass to which oxides of various metals are added. Initially, the enamel is in the form of a powder. Cells were filled with this powder and the product was fired in an oven. The enamel melted and shrank. Then another powder was added and fired again. The procedure was repeated several times until the enamel rose to the level of the height of the pattern walls.

Kolts and barmas are decorated with gems planted in high nests. Methods for strengthening stones on a golden surface indicate that Russian craftsmen knew European techniques for working with stones and successfully applied them.

Novgorod chalice

Another chalice in the museum's collection is the work of a Novgorod master. In the northern regions, the traditions of jewelry art were not interrupted by the Mongol-Tatar invasion. But the Novgorod and Pskov goldsmiths were well acquainted with European jewelry art. Russian masters ALWAYS made chalices of precious material. The Novgorod chalice is made of agate jasper, so it can be assumed that this is a Western European work.

But studies of the chalice showed that a Russian master was working. The top of the bowl is decorated with the finest filigree in the form of an infinity sign and stones.

The Ark is a quadriforium. Russian jewelry art of the XII-XV centuries

The Ark is a quadriforium. From a jewelry point of view, the ark is decorated in a very sophisticated technique. Some parts are decorated with black patterns and it may seem that this is a niello technique. But this is not so, the ark is decorated with enamel. (Currently, the quadriforium is located on the first floor of the Armory Chamber, in a showcase with royal regalia).

Showcases 3 and 4. Moscow jewelry of the 15th century. Russian jewelry art of the XII-XV centuries

At the end of the 14th century, politically, Moscow rises above other Russian cities, but a single, special, Moscow style had not yet developed by that time. Moscow craftsmen are still turning to samples of Kievan Rus.

Until the 18th century, no deposits of precious stones were known in Russia. They were brought from Europe and the East. Russian craftsmen did not cut gems, but polished them, such stones are called cabochons (from the French caboche- head). Russian craftsmen appreciated stones as they fell into their hands, as nature created them, sometimes with many flaws - chips, notches, irregular shapes. But if an already cut stone was brought to us, then it was used as it is, with a cut. In Europe, master cutters lived in, from time immemorial the city is famous for cutting workshops and jewelry making.

Folding.

Folding... It is surprising that the thing is signed, it is absolutely incredible for the year 1412. Nevertheless, the name of the master is written on the fold - Lukean. The plot of the fold is the song of the triumph of the Resurrection, Christ is depicted in the heavenly booths together with the saints. The influence of the Romanesque style is very noticeable in this work. The tiny thing has amazing work. Silver, gilding.

Salary for the Gospel of 1415

Salary for the Gospel of 1415... Gold. Researchers associate the restoration of the salary in the 17th century with the name of the boyar Boris Ivanovich Morozov, the educator of Tsar Alexei Mikhailovich, therefore this salary is called the “Morozov Gospel”.

Decorations are made using the technique of chasing and filigree. In the center of the composition is the scene of the Descent into Hell. The church fathers are depicted in the corners: including John Chrysostom and Basil the Great. Selected saints are placed in the field of the salary. Chrysoprase, emeralds, sapphires and amethysts adorn this setting. The book block inside is also very beautiful, with miniatures, but in very poor condition. There is currently no way to restore it. The illustrations on the parchment pages of the New Testament in the manner of execution are close to the work of Andrei Rublev.

The settings for the icon of the Virgin of Vladimir. Russian jewelry art of the XII-XV centuries

Salary for the Vladimirskaya icon... The museum has three settings for this icon. Two jewelry decoration techniques are used here - embossing or basma and chasing. (by the way, the throne of Boris Godunov was made in the basma technique). In the upper part of the setting there is a chased Deisus.
Embossing gives a large relief of the figures with a relatively low weight of the item, therefore, using this technique, the craftsmen tried to save precious metal. A few gems frame the face of the Mother of God, to which the worshipers turned.

Another setting for the Vladimirskaya icon comes from the Assumption Cathedral of the Moscow Kremlin.

This is the contribution of Metropolitan Photius. Metropolitan Photius was a Greek, he came to Moscow in 1410 and brought with him a lot of Greek masters. The stamps are made using the embossing technique. The salary is decorated not with filigree, but with filigree. On the salary we also see a stamp with the name of Photius himself. (Enlarged fragment).

Continuation of the theme “Moscow jewelry art of the 15th century in showcase 4. Between showcases 3 and 4 is located. The story about her in.

Salary for the Gospel

Another setting for the Gospel is decorated with the finest filigree on a silver setting. On five narrow silver plates, a carved nielloed inscription in ligature informs that the salary was made during the reign of Grand Duke Ivan Vasilievich and his grandson Dmitry Ivanovich at the behest of Metropolitan Simon for the Assumption Cathedral in the Kremlin. This is the work of the masters of the Moscow Kremlin. Continuously flowing scanning tape fills the entire surface of the flashing.
Zion the Small

Apparently, the zions were carried out during the solemn divine service, as symbols of the Church.

Additional information: gold and silver are ductile and low-melting metals, this allows craftsmen to make such items from them that are difficult or impossible to make from copper or modern alloys.
Gold has always been scarce in Europe. Most of this precious metal was mined in Egypt. One of the ancient books even mentioned that there is as much gold in Egypt as there is sand in the desert.

Sources:

1. Lecture hall of the Moscow Kremlin. Lecture “The Art of Russian Goldsmiths of the XII-XVII Centuries. Senior Researcher Natalia Alexandrovna Grigorieva.
2. Guidelines for preparing a sightseeing tour of the Armory. Compiled by T.V. Filatova
3. K. V. Donova, L. V. Pisarskaya "Armory", M., Moscow worker, 1960
4. I. Nenarokomova, E. Sizov "Artistic Treasures of the State Museums of the Moscow Kremlin", M., Soviet Artist, 1978
5. IV Faizova “Guidelines for a sightseeing tour of the State Armory Chamber of the Moscow Kremlin, M., Sputnik, 2011