Chram Svjatoj Ripsime v Jalte:
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Simferopolʹ
"Diajpi"
2015
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| Schlagworte: | |
| Online-Zugang: | Literaturverzeichnis Abstract |
| Beschreibung: | 143 Seiten Pläne |
| ISBN: | 9785906821041 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804176665329270784 |
|---|---|
| adam_text | McmoHHUKU u numepamypa
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143
TATEVIK SARGSYAN
ST. HRIPSIMEH CHURCH IN YALTA
St. Hripsimeh Church in Yalta is a remarkable
monument of Armenian architecture in Crimea,
erected in the latest period. This construction differs
from all other Armenian cult buildings on the
peninsula in the monumentally of architecture and
the originality of its planting on a difficult terrain, as
well as in the splendor and variety of the decor. The
temple ranks high in the panorama of Yalta, like an
amphitheater open to the South-East, towards the sea.
It is located on the southern slope of one of the coastal
spurs, included in the Yalta segment of the Main ridge
of the Crimean Mountains, which embraces the city in
a half circle from the North and West. The area owned
by the temple in Zagorodnaya Street 3, stretches onto
the sloping terrain, of which the difference between
the top and the bottom marks is about 30 m.
For the construction of the temple and buildings
surrounding it two equaled terraces are used on the
crest of the allotted plot, interspersing vertically and
making up the sum of 1300 m2. They are connected
by two stone stairways located on the left and right
flanks. The temple, the church house, the top gate, the
refectory, the stall for the sale of books and souvenirs
are situated on the upper terrace, and the Ghukasyan
family tomb, consisting of several chambers, is on the
lower one. The park area of the temple, occupying
approximately 1800 m2, is located further down,
on the steep southern slope. It is known for small
architectural forms and densely planted subtropical
vegetation. In the middle of the park zone, along the
slope, stretches a majestic wide grand staircase, at the
bottom of which there are ceremonial central gates.
These gates, as well as the upper ones, providing the
entry of transport, are included into perimeter of the
stone fence, surrounding the territory of the ensemble.
In St. Hripsimeh Church - the main building
of the complex - individual ideas of the Armenian
architecture of the 7-14th centuries are combined with
the basic plan of the dome-topped cruciform hall
without columns. The halls, falling under this rather
extensive characterization, were born in Armenia in
the end of the 6th century and near to the 11th centenary
developed into a series of stable architectural and
structural models. One of them, to which the Yalta
church tends by its appearance, reached perfection in
St. Hripsimeh Church in Echmiadzin (in the Republic
of Armenia) constructed in 618.
The absence of free standing pillars makes the
interior of the Yalta temple complete and spacious.
in combination with the large-flight dome, based
on internal angled pylons, it gains completeness
and spatiality. Various architectural and artistic
ideas, which were borrowed from the Armenian
cult monuments of the Upper Talin, Akhtamar,
Sanahin, Hakhpat, Ani, Kobayr, Akhtala, Noravank,
have been collected on the monumental base of this
large-domed cruciform hall. At the same time, in
the decoration of the Yalta complex ornamental and
narrative compositions are found, which are almost
fully borrowed from temples of Samtavisi and Dzhvari
in Georgia. However, according to Anatoly Jacobson,
various architectural and decorative elements in
the Armenian Church in Yalta are not combined
mechanically, but merged and woven compositionally
to form a thoughtful and very ingenious ensemble.
Nevertheless, the exclusiveness of the Yalta temple
is determined by its brilliant adaptation to the given
area. The effectively organized location of the large
“monolithic” temple of warm greenish-gray color
with volumes moderately narrowing up provides
full harmony with the environment as if it were
originally related to the geographical landscape of
the local area. From the west it is adjoined by a two-
storied bell-tower crowned by a rotunda, from the
south - by an open loggia on three adjacent arches,
overlapped by separate two-ramped crests, and by
a rounded building of the side-altar from the north-
east. Composed of several chambers the Ghukasyan
family crypt, to which an ornamented wide arch
leads, is located under the church on the south side
and when viewed from this direction they appear as
a cohesive unit.
This unique complex of religious and lay
constructions is also distinguished for generously
decorating it elements of stone plasticity, presented by
a small number of narrative reliefs and an abundance
of perfect, highly artistic samples of fine ornamental
carving. These are wall arcades, supporting them wall
columns with elegantly dressed capitals and bases,
relief crosses, khachqars, and also rosettes woven
into wattles, plant and geometrical patterns, profiled
cornices, rows of various denticules. Carefully cut out
in stone, they, depending on their location, received
a corresponding art form and scale. Special attention
should be paid to marble surfaces of the sacred
throne and the east wall of the mourning hall in the
Ghukasyan family crypt, which are entirely covered
with carved patterns of refined motives.
From the artistic point of view, of course, wall
paintings are remarkable, naturally and harmoniously
filling the light and spacious interior of the temple.
Painted in white-and-blue tones on the pale green
138
•ST. HRIPSIMEH CHURCH IN YALTA
qJo-
background and decorated with a rich set of
ornaments common in the medieval Armenian art,
they certainly tend to the Persian traditional painting,
thus becoming unique even for Crimea, which is
connected with the East by close ties.
The first relatively complete information about
the Armenian Church in Yalta is given by Edmond
Tigranyan. He considers it in the context of the
analysis of the professional work of the author - an
outstanding architect of the first half of the 20th cen-
tury Gabriel Ter-Mikelyan (Ter-Mikelov). A more
detailed description of the monument and a profound
analysis of its architecture are provided by a well-
known expert on Armenian architecture Hovhannes
Khalpakhchyan. However, the most complete and
updated information about the monument is given in
in our present monograph “St. Hripsimeh Church in
Yalta” It fully covers the history of its construction,
facts from the donators and authors’ lives, and the
detailed, photo-fixed description of the architecture
and décor. The book is based on the documents
from the Armenian National Archive, the State
Archive of the Republic of Crimea, prerevolutionary
publications, and literature in Armenian and Russian.
The need to have their own church arose
among the Armenians of Yalta in the early 90s of the
19th century. But its construction, approved by Emperor
Nicholas II, was launched only in 1904. The initiator
and the employer was a prosperous oilman Pogos
Ghukasyan (Pavel Gukasov) from Baku. According
to the archival data, since 1898 he intended to build
a family tomb with a magnificent church at it and for
this purpose even had bought up the land and ordered
the project. Later Ghukasyan was forced to come to
grips with this task, wanting to place in the church
crypt the ashes of his daughter Hripsimeh (Valentina),
died in Yalta in 1901 at the age of 17 and temporarily
buried there in the Orthodox cemetery.
By the hand of fate the crypt in which the
remains of Hripsimeh Ghukasyan had been reburied,
soon became the last haven for the other two children
of R Ghukasyan. According to the Armenian epitaphs
preserved here, his son Alexander, died in 1909, and
daughter Margaret, who passed away in 1913, were
also buried here in the vault. At that, the reburial
of Alexander, who had committed suicide and was
buried in St. Petersburg, took place together with
Margarets funeral in 1913.
The group of the creators of the Armenian
Church-ensemble in Yalta consisted of eminent
professionals. The architect of the building G. Ter-
Mikelyan (1874-1949) was one of the founders of
the new period town planning in Baku and Tbilisi,
the author of outstanding buildings, constructed in
the first decades of the 20th century. The researchers
of his creative heritage believed that the main part of
G. Ter-Mikelyans archive, including the project of the
Armenian Church in Yalta, had been lost. And in fact,
the authors graphic material relating to this temple
has not been found yet. Only a small set of drawings
of its initial version remains in the Armenian National
archive, attached to P. Ghukasyans application of
1898. And what must be pointed out, is that the name
of the church on these drawings is not specified. As for
the archive documents of the 20s of the 20th century,
the Armenian Church located at the same address in
Yalta was carrying the name St. Sargis (St. Sergius).
This means that the name of St. Hripsimeh was given
to the Yalta church much more later and symbolically,
because of its external similarity with the eponymous
church in Echmiadzin as well as for the same name
of donator s daughter. Anyway, it was legalized at the
second consecration in 1994.
Undoubtedly, the author of the drawings from
the Armenian National archive is G. Ter-Mikelyan.
But the comparison of them with the existing church
in Yalta shows, that shortly before the foundation
of the last the architect had changed the initial
compositional idea, evidently, being compelled to cut
down the expenses on the realization of the project.
Due to the change of the project, G. Ter-Mikelyan
did not succeed in realizing the idea of the crosswise
domed church resembling the temple in Echmiadzin.
He continued to bear this idea and finally, in a little
modified variant, presented it in 1907 in his project of
the Armenian Church in Baku. The project won the
first prize but was not implemented.
The architectural complex of the Armenian
Church in Yalta was constructed under the leadership
of Vladimir Rubanov - a civil engineer, who,
according to the archival documents, was endowed
with financial and organizational authority by the
customer. He was a neat, hard-bitten person, unable
to tolerate the arbitrariness of officials and capable in
bringing the started job to an end.
The following member of the creative group,
Vardges Surenyants (1860-1921) - the author of the
paintings decorating the interior of the church, was an
extremely gifted artist. He was not only the founder
of the historical genre in the Armenian painting, but
also an outstanding book-designer and decorator of
theatrical performances and costumes. Surenyants
was closely connected with Crimea. His father, an
educated and active priest Ter-Hakob, at the very
beginning of the 60s of the 19th century was offered a
position in Simferopol and in 1867 brought his family
139
2.6-
from Akhaltsikhe to Crimea. He was a close colleague
and frequent follower of archimandrite Gabriel
Ayvazovsky - head of Nakhidzhevan-Bessarabia
diocese of the Armenian Apostolic Church; during his
rule (1858-1865) the diocesan throne was situated in
Crimea - in Theodosia. Ter-Hakob also frequented the
house of the archimandrites brother - a great marine
painter Hovhannes (Ivan) Ayvazovsky. Ter-Hakobs
son Vardges, grown up in the creative and educated
environment, was a regular guest of the Ayvazovsky
family. He got his primary education in the well-known
Armenian school Khalibyan in Theodosia. Together
with his brother Suren he studied there from 1867 till
1870. The lists of pupils of this educational institution,
published in 1880 in Gabriel Ayvazovsky’s book
“The history of the Khalibyan Armenian school” are
the evidence of it.
V. Surenyants received an order to decorate the
interior of the Armenian Church in Yalta in 1906 and
did some sketch paintings. Since 1917 he settled down
in Yalta and started to work. However, the years full
of tragic events and shocks, constant lack of money,
endless disputes with P. Gukasyan, who once even
gave up the idea of decorating the church interior
with wall paintings, undermined the artists health.
Soon he completely lost the financial support of the
customer, who had moved abroad after the victory
of the Socialist revolution. In 1918 V. Surenyants was
compelled to stop decorating the temple. It was the
artist, sculptor and architect Taragros Ter-Vardanyan
(1878-1953) who offered him his help. He worked,
being guided by Surenyantss sketches and with his
direct participation, having assumed the decoration
of the church interior.
Along with the listed authorities sculptor Sergei
Merkurov worked over the ensemble of the Armenian
Church in Yalta. Being in Yalta in 1908-1910 he
decorated the marble surfaces of the sacred throne
with magnificent relief ornaments. It is possible too
that he and T. Ter-Vardanyan were in charge of the
trimming of some other parts of the ensemble with
refined ornamental and scene reliefs. Yet the question
of the author (or authors) who made the carvings of
the ensemble as a whole is still open.
V. Surenyants was engaged in decorating the
building until his death. He passed away in April
1921, having managed to finish only the painting of
the dome, and was buried on the lower terrace - in
front of the entrance to the Ghukasyan family tomb.
Eyewitnesses remembered his funeral and the red
commissar at the head of the detachment, who had
finished the ceremony by twenty shots. On April 10,
1963, by the already passed centenary since the birth
140
of the outstanding master, a modest gray-diorite
tombstone was placed on his grave on the initiative of
the admirers of his talent from Armenia. Two marble
plates were fixed next to it - on the monumental
retaining wall. One of the plates has the portrait of the
artist and the other one - a memorable inscription:
“Here is buried Vardges Yakovlevich Surenyants (1860-
1921), a well-known Armenian painter, theatrical artist
and a specialist of graphic arts, who had decorated the
interior of this building with wall paintings”.
In 1931 the Armenian Church in Yalta was
liquidated and its buildings were given to Yalta film
studio. In the period of the Great Patriotic War they
sustained some losses and since 1960s were transferred
to the Yalta museum of local lore. By the 150th anni-
versary of Yalta, celebrated in 1988, the ensemble
constructions had been restored. Besides general repair
works (fixing the roofs, whitewashing the interior
surfaces, replacing the doors) external surfaces of the
church, the tomb, the church house, retaining walls,
parapets and cornices crowning them, as well as the
stone components of the landscape in many sites were
covered with special grayish-color hydro-isolating
cement mortar, decorated as if were regular masonry.
The same mortar was used in fixing of numerous
fragments of the external carved ornaments. Some of
them were to be prepared once again.
The ensembles repairing continued and after it
had been transferred to the Yalta Religious Community
of the Armenian Apostolic Church in 1993 and
consecrated in honor of St. Hripsimeh in 1994.
It included the fixing of the roofs and marble facing of
internal walls, the resumption of the church interior
decorating according to V. Sureyants s sketches, which
are stored in the funds of the Art gallery of Armenia.
An organ was installed in the church in 1996. In it,
open now for the believers and visitors, liturgies and
church services are conducted, accompanied by the
organ music. Besides these, chamber concerts are
being organized here.
Today a special attention must be drawn
to the problem of the destruction of the external
surfaces of the church and adjacent constructions.
It is an objective process taking into account the
fragile quality of the construction material used in
the building - the so-called Crimean tufa - a soft
volcanic rock with a high content of lime. Urgent
anti-emergency actions involving the use of the best
restoration expertise are necessary to save the external
surfaces of the ensemble constructions and the most
valuable carvings decorating them.
ST HRIPSIMEH CHURCH IN YALTA
|
| any_adam_object | 1 |
| author | Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh |
| author2 | Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh |
| author2_role | pht |
| author2_variant | t ė s tė tės |
| author_GND | (DE-588)1059301520 |
| author_facet | Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh |
| author_role | aut |
| author_sort | Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh |
| author_variant | t ė s tė tės |
| building | Verbundindex |
| bvnumber | BV043814401 |
| ctrlnum | (OCoLC)960104407 (DE-599)BVBBV043814401 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| genre | (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Bildband |
| geographic | Jalta (DE-588)4028454-2 gnd |
| geographic_facet | Jalta |
| id | DE-604.BV043814401 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:35:47Z |
| institution | BVB |
| isbn | 9785906821041 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029225564 |
| oclc_num | 960104407 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 143 Seiten Pläne |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | "Diajpi" |
| record_format | marc |
| spelling | Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh. (DE-588)1059301520 aut pht Chram Svjatoj Ripsime v Jalte T.Ė. Sargsjan Simferopolʹ "Diajpi" 2015 143 Seiten Pläne txt rdacontent sti rdacontent n rdamedia nc rdacarrier Text russisch Kyrillische Schrift Armenisch-katholische Kirche (DE-588)4537720-0 gnd rswk-swf Geschichte gnd rswk-swf Armenier (DE-588)4085933-2 gnd rswk-swf Kirchenbau (DE-588)4073436-5 gnd rswk-swf Jalta (DE-588)4028454-2 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Jalta (DE-588)4028454-2 g Armenisch-katholische Kirche (DE-588)4537720-0 b Armenier (DE-588)4085933-2 s Kirchenbau (DE-588)4073436-5 s Geschichte z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029225564&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029225564&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Sargsjan, Tatevik Ėduardovna ca. 20./21. Jh Chram Svjatoj Ripsime v Jalte Armenisch-katholische Kirche (DE-588)4537720-0 gnd Armenier (DE-588)4085933-2 gnd Kirchenbau (DE-588)4073436-5 gnd |
| subject_GND | (DE-588)4537720-0 (DE-588)4085933-2 (DE-588)4073436-5 (DE-588)4028454-2 (DE-588)4145395-5 |
| title | Chram Svjatoj Ripsime v Jalte |
| title_auth | Chram Svjatoj Ripsime v Jalte |
| title_exact_search | Chram Svjatoj Ripsime v Jalte |
| title_full | Chram Svjatoj Ripsime v Jalte T.Ė. Sargsjan |
| title_fullStr | Chram Svjatoj Ripsime v Jalte T.Ė. Sargsjan |
| title_full_unstemmed | Chram Svjatoj Ripsime v Jalte T.Ė. Sargsjan |
| title_short | Chram Svjatoj Ripsime v Jalte |
| title_sort | chram svjatoj ripsime v jalte |
| topic | Armenisch-katholische Kirche (DE-588)4537720-0 gnd Armenier (DE-588)4085933-2 gnd Kirchenbau (DE-588)4073436-5 gnd |
| topic_facet | Armenisch-katholische Kirche Armenier Kirchenbau Jalta Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029225564&sequence=000003&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=029225564&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sargsjantatevikeduardovna chramsvjatojripsimevjalte |