草榴短视频

Students of the Department of Monumental Art of St. Petersburg State University of Industrial Technologies and Design have developed a project of decoration of the St. George the Victorious chapel temple for the Academy "Meganom" in Crimea. The project was created within the framework of the program "Church Art: creation of interior decoration of the chapel temple".

The University of Industrial Technologies and Design was represented by sixth-year diploma students Nicole Pushkareva, Ekaterina Zhilko, Anastasia Bautina and Anastasia Borisova. The concept of the decoration was developed under the guidance of the chief architect of the temple Ksenia Lugova, chief restoration artist Maria-Nicole Selivanova and expert artist Alena Schlichting.

Work on the project began with familiarization with the building and the technical assignment, previously accepted developments, ideas and materials. The main task was the development of the artistic design of the temple. The young muralists could do any decoration activity from candlesticks to landscape design based on their desires, skills and requirements of the project curators.

Students of the Department of Monumental Art of 草榴短视频 proposed solutions of stained glass for the window openings of the temple, the solution of the facade and the design of lanterns for the temple territory. Some of the developments of the St. Petersburg university team were accepted for further development and realization.

For example, Anastasia Bautina and Ekaterina Zhilko developed variants of window apertures decoration with stained glass in the techniques of tiffany and fusing, using the previously accepted patterns of the Chersonesos Cathedral.

- The task was to harmoniously fit stained glass of certain sizes into the window apertures. Such windows fulfill an important role in the temple - it is a source of light. In order to let enough light into the temple, the stained glass windows must have a high light transmission capacity. I developed two variants of stained glass sketches based on Chersonese ornaments. Color references were the colors of catacomb painting, which will be present in the interior decoration of the temple. The first variant is more simple in execution, it has smooth lines and interlacing. The other stained glass window features a recognizable Byzantine cross. The windows of both stained glass sketches are planned to be executed in the technique of Tiffany and fusing, - Ekaterina Zhilko shared.

Anastasia Bautina added that the development of stained glass windows was very important, as it was one of the wishes of investors, and the task was not easy: the windows are very small, and the size of the glass itself was only 24脳64 cm. This size dictates several obstacles: the impossibility of working out the elements in too much detail and the need to work out the airiness of the stained glass. It was also important to utilize and rework the Byzantine ornaments that are intended to be used in the decoration of the entire temple.

- I designed stained glass that consists primarily of transparent relief glass with a small inclusion of colored glass to allow as much light as possible to enter. This kind of stained glass involves a mix of techniques: kiln painting, fusing and Tiffany. Throughout the fa莽ade, there is an alternation of more filled and more "light and empty" ornaments. I also made a technical breakdown of the glass and provided life-size cardboard of the stained glass, explains Anastasia Bautina.

Nicole Pushkareva was engaged in the design of two levels of the facade and the drum of the temple. The work was also based on the patterns of the Chersonese Cathedral, stylized under the sgraffito technique approved by the architect.

- I took into account the modern style of construction, the size of the ornamental framing of windows and the main entrance to the temple, including patterns and their coloristic solutions. As a muralist, I worked with experts to solve the issue of the small windows of the first level of the facade: these are the windows with tympanum at the level of the portal, tied to the plinth, and those closer to the roof, as well as the trapezoidal windows of the second level, which we see in triangles above the roof. I aimed to maintain the unity and integrity of the facade. In a separate image of the lower window, I presented a solution in the form of a floral pattern above the plinth, and also filled the gap between the window "legs" with textures to support the plinth. The geometric pattern we see under the floral arch of this window, I used further in the upper windows between the vertical floral patterns that tie the upper windows to the roof. And of course, the main symbol of the temple is the pattern with the cross, which we trace across the entire horizontal of the lower row of windows and the portal.

The ornament above the plinth was also put under the roof. Floral ornament is the main ornament here, it was also applied by me under the roof of the second level and in the design of the drum window. Having removed the drawing of the building, we will see how the ornaments beautifully fold its outlines and repeat the unique, unusual shape of the temple, - says Nicole.

Anastasia Borisova took on the solution of the landscape environment and proposed the design of the stained-glass windows.