New PDF release: A Concise History of Russian Art

By Tamara T. Rice

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But there is inclusion in the picture of the symbolic icon was indeed painted for a tical a poetically conceived Sir more than a touch of Suzdalian influence in the sword of sovereignty; member of the princely house, implications underlying this small detail become if the the poli- scarcely less interesting than the panel's aesthetic value. Towards the end of the twelfth century, Novgorod's contacts with Eastern Christendom became particularly strong partly as a result of Novgorod in 1186 by Alexius Comnenus, the nephew of the Emperor Manuel, and partly because it was becoming the visit paid to popular for devout Russians to undertake pilgrimages to Jerusalem, Constantinople, and more especially to Mount Athos.

Further- producing these to forget the importance of decorative detail. on a rug, the design of which is so close to those on some twelfth- and thirteenth-century Konya carpets Placing his figures that appear that his it is tempting to assign it to the Seljuks of Anatolia, he turned attention to the drapery of the Virgin's robes. By handling the of her skirt schematically and those of her cloak rhythmically he achieved a forcefulness and variety of effects that are seldom to be met with in paintings of a similar date and character.

Ip-23). The majority are executed in low and are to some extent reminiscent of wood-carving. A few savour of the West; many more reflect Eastern influence, both in the proportions of the figures and the choice of motifs; others such as the surface design forming the background on the slabs of the east wall of the Cathedral of St George are reminiscent of Georgian relief — — metalwork; one or two details suggest links with the Seljuks, whose masonry of some churches built round about the year 1200 in the neighbourhood of Chersonesus; influence had already made itself felt in the 33 1»^.

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A Concise History of Russian Art by Tamara T. Rice


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