SKETCH DESIGN OF THE INTERIOR OF PROTECTION OF THE THEOTOKOS CHURCH IN MYTISHCHI
SKETCH DESIGN OF THE INTERIOR OF PROTECTION OF THE THEOTOKOS CHURCH IN MYTISHCHI
Design: Prohram Studio together with the Guild of Church Buildres (Andrey Anisimov Studio)
Project: Sketch design of the interior of Protection of the Theotokos Church in Mytishchi
Location: Mytishchi, Russia
Managers of the project: Dmitry Ostroumov, Andrey Anisimov
Author of the idea: Andrey Anisimov
Artists: Anton Daineko, Alesia Petsko, Irina Brel, Artem Salikov
3D visualisations: Maxim Kanoplich
Year: 2022
Project: Sketch design of the interior of Protection of the Theotokos Church in Mytishchi
Location: Mytishchi, Russia
Managers of the project: Dmitry Ostroumov, Andrey Anisimov
Author of the idea: Andrey Anisimov
Artists: Anton Daineko, Alesia Petsko, Irina Brel, Artem Salikov
3D visualisations: Maxim Kanoplich
Year: 2022
One of the main features of the project is the active use of glass. It can be used as a material for the canopy over the iconostasis, the ciborium over the altar, and the wall icon cases.
Glass is not quite a traditional material in Christian art. Glass elements are fragile and easily damaged. Moreover, glass tends to dominate in the hierarchy of materials. Therefore, in the church space, it can distract the attention of the worshipers. Nevertheless, the presence of glass in the church interior has both aesthetic and theological justification.
Glass accumulates visible light, transforming it into a symbol of the Invisible Light. Thus, the church is perceived as a gateway to another world, to a lucid, crystal-clear space. Divine beauty, Divine harmony, goodness, and love - all these manifestations of God are perceived through light. In the interior of the Protection Church, glass will only be used at significant semantic points. We are strictly preserving this attitude: glass is a receiver and source of light; it is the material that can show the beauty of light.
Glass is not quite a traditional material in Christian art. Glass elements are fragile and easily damaged. Moreover, glass tends to dominate in the hierarchy of materials. Therefore, in the church space, it can distract the attention of the worshipers. Nevertheless, the presence of glass in the church interior has both aesthetic and theological justification.
Glass accumulates visible light, transforming it into a symbol of the Invisible Light. Thus, the church is perceived as a gateway to another world, to a lucid, crystal-clear space. Divine beauty, Divine harmony, goodness, and love - all these manifestations of God are perceived through light. In the interior of the Protection Church, glass will only be used at significant semantic points. We are strictly preserving this attitude: glass is a receiver and source of light; it is the material that can show the beauty of light.
Brass was chosen as the basic material for the iconostasis and the columns. It is proposed to decorate it with cold enamels to make it feel less metallic and to “fuse” the columns with the interior. The columns should not look load-bearing but “hanging” down. This should create the impression of downward movement, paralleling the image of the Protection of Theotokos.
The Protection of the Mother of God is a metaphor for the maternal love of the Heavenly Queen for all mankind. She mystically adopted all humanity at the will of the crucified Christ. The canopy above the iconostasis clearly reveals the idea of the Protection. The glass complements this meaning, symbolizing femininity. It combines, on the one hand, fragility, weakness, and vulnerability, and on the other hand, strength, endurance, and firmness. Light, in turn, symbolizes the masculine principle, the seed of the Logos, which spiritualizes matter. Lingering in the glass, the light "incarnates," just as God incarnated and became Man forever, born in the womb of the Virgin. The idea of the spiritualization of matter can be compared to the Annunciation. This is the event when the greatest Mystery took place: “The Word became flesh” (John 1:14). Light and matter are combined in glass - fragile and durable, transparent and pure. Thus, the beautiful visual effect testifies to the reality of the Incarnation.
The Protection of the Mother of God is a metaphor for the maternal love of the Heavenly Queen for all mankind. She mystically adopted all humanity at the will of the crucified Christ. The canopy above the iconostasis clearly reveals the idea of the Protection. The glass complements this meaning, symbolizing femininity. It combines, on the one hand, fragility, weakness, and vulnerability, and on the other hand, strength, endurance, and firmness. Light, in turn, symbolizes the masculine principle, the seed of the Logos, which spiritualizes matter. Lingering in the glass, the light "incarnates," just as God incarnated and became Man forever, born in the womb of the Virgin. The idea of the spiritualization of matter can be compared to the Annunciation. This is the event when the greatest Mystery took place: “The Word became flesh” (John 1:14). Light and matter are combined in glass - fragile and durable, transparent and pure. Thus, the beautiful visual effect testifies to the reality of the Incarnation.
It is assumed that the windows will be made using the stained-glass technique. Sketches of stained-glass windows with floral and cruciform ornaments were designed.
In the conch of the apse, there is an image of the Prepared Throne in the center. On either side of it, there is an image of the Descent of the Holy Spirit on the Apostles. Below are images of the holy bishops in arches with semi-columns. The synthronon is made of stone. The High Place is decorated with an image of a circled cross. The altar is also made of stone. Above it, there is a ciborium. Its upper part is decorated with multicolored glass.
The iconostasis is a single-tier altar barrier with full-height images of the Savior and the Mother of God. The Royal doors and the deacon's doors are low; they are made of yellow brass. On the canopy above the iconostasis, there is a relief image of Christ giving Communion to the Apostles. There are also decorative elements in the form of peacocks made of yellow brass and colored glass. In the Christian tradition, peacocks symbolize eternal life and the immortality of the soul. On top of the canopy and the wall icon cases, there are glass shields with crosses and the words “Holy, holy, holy” (cf. Isaiah 6:3, Revelation 4:8).
On the wall above the altar barrier, there is an image of the Protection of the Mother of God, with saints standing before her in prayer. There are the symbolic depictions of the Evangelists on the ceiling vaults: Matthew (the angel), Mark (the lion), Luke (the calf), and John (the eagle). On the wall above the entrance to the church, there is an image of the Dormition of the Mother of God.
The northern and southern walls are decorated with monochrome images of characters from Sacred History and corresponding texts of Scripture.
Sketches of two types of wall icon cases have been designed. One type is made of glass, and another is made of carved stone. Sketches of the Corona Lucis, the doors, and the scheme of floor patterns have also been designed.
In the conch of the apse, there is an image of the Prepared Throne in the center. On either side of it, there is an image of the Descent of the Holy Spirit on the Apostles. Below are images of the holy bishops in arches with semi-columns. The synthronon is made of stone. The High Place is decorated with an image of a circled cross. The altar is also made of stone. Above it, there is a ciborium. Its upper part is decorated with multicolored glass.
The iconostasis is a single-tier altar barrier with full-height images of the Savior and the Mother of God. The Royal doors and the deacon's doors are low; they are made of yellow brass. On the canopy above the iconostasis, there is a relief image of Christ giving Communion to the Apostles. There are also decorative elements in the form of peacocks made of yellow brass and colored glass. In the Christian tradition, peacocks symbolize eternal life and the immortality of the soul. On top of the canopy and the wall icon cases, there are glass shields with crosses and the words “Holy, holy, holy” (cf. Isaiah 6:3, Revelation 4:8).
On the wall above the altar barrier, there is an image of the Protection of the Mother of God, with saints standing before her in prayer. There are the symbolic depictions of the Evangelists on the ceiling vaults: Matthew (the angel), Mark (the lion), Luke (the calf), and John (the eagle). On the wall above the entrance to the church, there is an image of the Dormition of the Mother of God.
The northern and southern walls are decorated with monochrome images of characters from Sacred History and corresponding texts of Scripture.
Sketches of two types of wall icon cases have been designed. One type is made of glass, and another is made of carved stone. Sketches of the Corona Lucis, the doors, and the scheme of floor patterns have also been designed.
