Вологда была третьим по значению строительным центром России середины XVII—начала XVIII в., но зд... more Вологда была третьим по значению строительным центром России середины XVII—начала XVIII в., но здесь не сложилось собственной архитектурной школы. Первые здания были связаны с мастерами, работавшими в Ярославле, Костроме и Галиче. Последующие храмы «дивного узорочья» были возведены при участии московских мастеров. Скромные храмы раннепетровского времени связаны также с Поволжьем и Устюгом и, воспроизводя формы местного узорочья, очень робко обращаются к нарышкинским формам.
Vologda was the third largest construction centre in Russia in the
mid-17th — early 18th centuries, however no particular architectural school
emerged there. The fi rst buildings in Vologda were associated with masters
who had worked in Yaroslavl, Kostroma and Galich. Churches in the “divnoe
uzoroch’e” (marvelously ornate) style were built with the help of masters
from Moscow. The modest churches of the early Petrine time were also
associated with Volga and Ustyug regions. Reproducing forms of the local
uzoroch’e style, these churches’ design timidly appeals to the forms of the
Naryshkin style.
Предлагаемое исследование — первое, анализирующее обширное наследие (более каменных 70 храмов) ар... more Предлагаемое исследование — первое, анализирующее обширное наследие (более каменных 70 храмов) архитектуры Вологды и окрестных сёл. Господствующим стилем здесь в 1730-е — 1760-е гг. был нарышкинский, в 1770-е гг. барокко. В Вологде иногда работали мастера из Каргополя, Устюга, Москвы и Украины, но, в отличие от предшествующего периода, здесь все же сложилась архитектурная традиция. Для нее характерно сочетание черт консервативных (одноэтажные пятиглавые храмы, встречается двустолпие и допетровский декор) и новаторских (малый восьмерик и полуглавия). Отличительными формами являются окна на четверике в две оси и нарышкинские наличники с многолопастными очельями.
В XVI–XVII вв. столпный храм был главным архитектурным типом. Исследование, впервые обобщившее св... more В XVI–XVII вв. столпный храм был главным архитектурным типом. Исследование, впервые обобщившее сведения о всех храмах этого типа (более 40), построенных после 1730 г., показало, что они теперь обычно копировали региональный образец и строились преимущественно в селах. Сам тип стал более разнообразным за счет новых вариаций с одним и восьмью столбами, а также гибридов с восьмериковыми и многолепестковыми храмами.
Актуальные проблемы теории и истории искусства: сб. науч. статей., 2021
Vladimir Shchuko (1878–1939) was one of the leading Russian architects of the first half of the 2... more Vladimir Shchuko (1878–1939) was one of the leading Russian architects of the first half of the 20th century. The article identifies all the buildings and projects of the master with Italian allusions, defines their prototypes, and studies their role in the general architectural context. Shchuko was the first architect who introduced the Palladian façade with the giant order into the Russian architecture (in his second house of Markov in St. Petersburg, 1910–1911). In the design of the Burtsev house (1911), Shchuko proposed an original interpretation of the Palazzo Tiene by Palladio. The architecture of the Moscow Bank in St. Petersburg (1915) was oriented at the Palazzo Massimo by Peruzzi. The three Schuko’s mansion projects of 1912, 1915, and 1916 published here for the first time reflect his interest in Palladian villas and Basilicas. The project of the State House of Abkhazia (1932) develops the theme of exedra façade from the Palazzo Colonna Barberini in Palestrina, which was used later in many Soviet sanatoria. The Ashgabat theatre (1934) is his most interesting orientalist project based on Venetian forms. The article also emphasizes the striking affinity of certain Shchuko’s buildings with the 1930s Italian architecture. The article concludes that Shchuko was the second Russian architect in terms of the frequency of references to Italian motifs, conceding only to famous Zholtovsky. However, he was the first one in terms of the variety of used prototypes.
Many buildings with Ukrainian architectural features were built in 18 th century Russia in the mi... more Many buildings with Ukrainian architectural features were built in 18 th century Russia in the milieu of intense cultural exchange between Russia and Ukraine. The research aims to discuss how exactly and why Ukrainian elements were used in Russian architecture. Volume organization and decoration of Russian buildings having Ukrainian features are analyzed and compared. The results reveal a clear distinction between the buildings which intentionally copy Ukrainian models or singular elements and those unintentionally using some Ukrainian features as elements of architectural fashion. The detailed analysis of such cases is invaluable for the understanding of Russian architectural transformation in the 18 th century.
Актуальные проблемы теории и истории искусства. Вып. 7. Actual Problems of Theory and History of Art. Vol. 7 , 2017
This article deals with a current theme — the architecture of the contemporary mosque. There are ... more This article deals with a current theme — the architecture of the contemporary mosque. There are only a few monographs on the subject, and even fewer case studies which analyze the architecture of individual buildings in their political context. This article is dedicated to the mosques of Abd al-Qadir in Constantine, Algeria (1972–1994, Ismail Hussein Mohammed) and Hassan II in Casablanca, Morocco (1987–1993, Michel Pinseau) and presents the results of onsite research in 2014–2016. The first of the above-mentioned mosques has not been studied before, and therefore much more attention is paid to it. The author argues that both mosques blend traditional decoration with contemporary spatial solutions, for example the bold diagonal setting of the Casablanca’s minaret. The decoration of this mosque is focused solely on national heritage, but at the same time it is supplemented with modern details and materials. All this should emphasize both the traditionalism and the modernity of Hasan II’s monarchy, as well as inscribe Casablanca in the orbit of the traditional Islam controlled by the king. The creators of the mosque in Constantine оpenly abandoned modernization attempts and emphasized the exact reproduction of the iconic forms of the architecture of Maghreb and al-Andalus. These forms should underline the status of the first Islamic university in socialist Algeria of the 1970s as the new cultural center of the entire Western Islamic world
Память как объект и инструмент искусствознания. / Сост. Е.А. Бобринская, А.С. Корндорф. – М.: ГИИ. Memory as the Subject and Instrument of Art Studies. Collected articles / Compiled by E.A. Bobrinskaya, A.S. Korndorf – Moscow: State Institute of Art Studies. , 2016
This article focuses on the striking similarity of the rural architectural complexes in 16th – 1... more This article focuses on the striking similarity of the rural architectural complexes in 16th – 18th century France and Russia: ‘parish enclosures’ of Lower Brittany and ‘churchyards’ of the Russian North. These monumental and numerous constructions chronologically belong to the Modernity, but their sponsors, builders and users lived in the reality of Late Middle Ages. It is not surprising that from architectural point of view these parish enclosures and churchyards represent Gothic Survival in the Late Renaissance and Baroque eras. Built by mostly unknown builders and craftsmen with financial support of rich local peasants or/and merchants, they are very important historical sources about the everyday life and culture of Lower Brittany and the Russian North. Our comparative study deals with typology, iconography and style of the most important buildings in Pleyben, St.-Thegonnec, Kizhi and Lal’sk. Статья посвящена анализу сельских храмовых комплексов (погостов) в Нижней Бретани и на Русском Севере XVI-XVIII вв. На конкретных примерах показана специфика развития их архитектуры: постепенного заимствования ренессансных и барочных элементов при сохранении средневековой схемы постройки. Учитывая скудность документальных свидетельств, формы архитектурных памятников оказываются важным свидетельством о менталитете и культуре сельского населения периферийных территорий, живших в «долгом Средневековье» на протяжении большей части Нового времени.
The article deals with one of many regional architectural
traditions of Russia. In this period, a... more The article deals with one of many regional architectural traditions of Russia. In this period, about ten churches were built in Kargopol and its surroundings, very few as compared with other regions. None of this buildings have ever been an object of detailed research. The churches represent different architectural trends and were constructed possibly by different building teams, the author argues. Nevertheless, each of them borrows something from previous Kargopol architectural tradition. The cathedral bell tower (1772–1778) is the only example of fine Neoclassical taste, whereas all churches are characterized by old-fashioned Mannerist and even Medieval features. The author concludes, that the Kargopol architecture remains the most conservative regional school in Russia, some buildings still representing Post-Byzantine tradition in the Age of Enlightenment.
The article deals with one of many regional architectural
traditions of Russia. Seven churches we... more The article deals with one of many regional architectural traditions of Russia. Seven churches were built in Kargopol in this period. The author argues that they follow the previous local architectural trends and two of them are of special architectural interest. Trinity church in Troitsa (1744), which is a transformed variant of Solovki monastery church and St. John Baptist Nativity church in Kargopol (1751), notable for a rare two-pillar construction and a unique ‘cask’-vaulted altar. All the churches under consideration have a peculiar style, characterized by conservatism and occasional use of features typical of wooden buildings. The author concludes that the Kargopol architecture remains the most conservative of the mid-18th century regional schools in Russia.
The article deals with one of many regional architectural
traditions of Russia in the 18th centur... more The article deals with one of many regional architectural traditions of Russia in the 18th century. Only three churches were built in Kargopol in this period, and they have never been subject of detailed research. The only surviving building the katholikon of Oshevensk monastery (1707–1734) is the key artifact. The author argues, that the church receives very sophisticated composition due to desire of its founders to copy the architectural forms of the famous Solovki monastery. The second church, that of the Spasski monastery (1707–1717), located in the town of Kargopol, is now destroyed and only can be seen on some old photos. These photos were discovered in the archive by the author and were published for the first time in this article. Unfortunately, we have no images of the third, Uspenski church in Kargopol (1715–1730) which was also destroyed. Its forms are roughly described on the basis of archive documents. The author concludes, the Kargopol architecture is unique because it is the most conservative one in the early 18th century Russia. The buildings still represent Post-Byzantine tradition some 30 years after the introduction of European Mannerist and Baroque forms into Russian architecture.
The paper describes four little-known buildings of the 1770s — church
of the Posolski Monastery o... more The paper describes four little-known buildings of the 1770s — church of the Posolski Monastery on Lake Baikal, Trinity Church in Yeniseisk, St. Vladimir’s Church in Irkutsk and the Church of Our Lady Hodegetria in Kuznetsk. Research shows that all of them follow the forms of the Irkutsk School. The architecture of the Irkutsk church does not inluence other constructions, while the one in Yeniseisk plays a key role in the formation of the local Baroque style. This “transfer” of tradition appears as a phenomenon, that is not typical for Russian provincial architectural schools in the 18th century
The object of the presented research is a definition of style of the architecture of Arckhangelsk... more The object of the presented research is a definition of style of the architecture of Arckhangelsk and surrounding territories in the XVIII c. The number of stone churches built in this predominantly wood-using region was newer high, but only very few remain after years of Soviet cultural terror. The first churches of Arkhangelsk belong to “The Kholmogory school” (of a diocese centre), created by the patronage of archbishop Athanasios (1682–1702). This archaic tradition survived in the countryside monuments till 1730th. A new “Arkhangelsk city” architectural school was created with the construction of a Troitskiy cathedral (1709–1743) in the new diocese capital, Arkhangelsk. I suggest it was built by masons from Velikiy Ustig (“the Great Ustiug”), true economy and culture heart of the immense territories of the North and East of Russia, from White Sea to Baykal. New approaches were soon adopted by the constructors of some elegant churches alongside Dvina riverfront, which appear in 1740th – 1760th after the completion of the cathedral. This churches belong to late phase of Naryshkin style, distinctive for some remote regions and cities as Viatka, Tobolsk, Irkutsk etc. This school however don’t developed a later Baroque style: sparse sponsors and masters didn’t found means nor abilities to create such flamboyant masterpieces as some 1770th–1790th churches in Totma, Viatka, Western Siberia and Baykal region.
The Russian culture of late XVII and first half of XVIII centuries was deeply influenced by many ... more The Russian culture of late XVII and first half of XVIII centuries was deeply influenced by many representatives of the clergy coming from the Lavra of Kiev – the main spiritual and educational centre of the Eastern Orthodoxy. In the field of architecture this impact wasn’t so decisive as in icon painting or church singing. The only part of Russia where Ukrainian formed the basis of local architectural schools was Siberia. The key Ukrainian figure was Metropolitan Filofey Leshchinsky (1650–1727), a fervent preacher among native pagans and Old Believers, a true apostle of Siberian lands. The splendid Trinity Monastery in Tiumen’ (1708-1741), a copy of the Lavra, was his main architectural legacy. Posterior Ukrainian Metropolitans of Siberia kept on the Kiev-oriented program. They added Ukrainian “bania” cupolas to the St. Sophia in Tobol’sk (1726–1727, 1735), erected a winter cathedral in honor of the founders of the Lavra (1743–1746), created a “space model” of the miracle-working icon of Our Lady of Abalak (1748–1759) following Ukrainian patterns. “Ukrainisms” were adopted by Siberian architectural traditions both as symbolic models and as simply a building method. The Trinity Monastery served as a model for Baroque churches of Tiumen’ — Znamenskaya (1768–1801) and Spasskaya (c. 1770 – 1796) ones. The “bania” cupolas appear as the most assimilated Ukrainian form, widely used in East and West Siberia till the end of XVIII c., particularly in wooden churches. Tobol’sk masons succeeded in blending of Ukrainian facades with traditional Russian volumes. If a composition with the so called “big octagon” wasn’t a great achievement, churches with the “small octagon” really were; the first one of such type was the church of Archangel Michael (1745–1749) in Tobol’sk. They were successfully adopted by different local traditions and were built throughout Siberia till the early XIX c. What is the secret of such success of Ukrainian architectural forms in the remote Siberia? It seems, it grew from Filofey’s brilliant personality, his talent for architectural invention and a lack of a long-standing architectural tradition in partibus infidelium.
The article offers a new approach to the study of traditional non-wooden architecture in the hist... more The article offers a new approach to the study of traditional non-wooden architecture in the historical capital of East Siberia between 1740 and 1775. The focal point of the research is the well-known Krestovskaya church (1747–1760), the exuberant Buryat decorativism of which had given cause for some speculations about the “oriental” nature of “Siberian Baroque”. Traditionally for the Russian Art history, the whole period between Old Russian and Neoclassical styles (late XVII – late XVIII c.) was classified as Baroque, while the existence of numerous and extremely various stylistic trends were neglected. Only recent years, some studies dealt with the ‘Naryshkin style’, the Russian version of North European Mannerism, and its regional varieties. Mannerism as a style was very sensitive to the local, mostly late medieval architectural traditions. So architecture of Russian regions must be considered as one of many exuberant achievements at the European periphery, such as “mestizo” of Alto Peru or “Barocco Salentino” of Lecce. Dr. Maciel argues that in the case of mid XVIII c. Irkutsk the masons from Veliky Ustiug, the economical capital of North Russia, were responsible for the creation of a specific local trend of ‘Naryshkin style’. This trend hugely differs from the regular ‘Naryshkin style’ represented in Irkutsk with some early 18th c. churches. Around 1775, it had given way to the true Baroque compositions, influenced by the traditions of another North Russian city, Tot’ma. So, the analyzed monuments constitute one of numerous late medieval vernacular architectural schools of the North and North-East of Russia, an outpost region of the Post-Byzantine spiritual tradition in the emerging Imperial Russia.
— “The Buddhist Temples of Buryatia: from Russia to Tibet” in: Architectural Heritage. Vol. 58. Мoscow, 2013. P. 94–103
Buryats are a group of Mongols. Their Buddhist architecture is rather distinctive because the ter... more Buryats are a group of Mongols. Their Buddhist architecture is rather distinctive because the territory of those tribes has become a part of Russian Empire since the mid 18th cent., meanwhile the rest of Mongolia belonged to China. Buddhist architecture of Buryats is studied unsatisfactory because almost all the monuments (as well as those of Mongolia) were destroyed in 1930-s (from 47 monasteries only 3 survived). This article is the first attempt to consider the phenomenon of Buryat Buddhist temples in the context of neighboring architectures; dividing it into three periods we are to define a specific of each of them.
The first period was from the mid 18th cent. (when they began to build stationary temples) till the first half of the 19th cent. Those temples reproduced the Tibetan iconography but in the most general outline, mainly taking as a sample drawn mandalas. A decisive stylistic influence was that one from Russian church architecture in its vernacular variant of Mannerism and later Baroque. Russians built monumental wooden and later stone edifices earlier than Buryats did, that is why the first Buryat Datsans (monasteries) were built by Russian masters.
The second period took the second half of the 19th cent., when the general volume of construction works grew significantly. Buryats refused from typical Russian architectural elements and turned to specific Tibetan samples. On my opinion, such samples were found in the historical province of Amdo: the Labrang Monastery, first of all. At that, the forms were interpreted in general terms, often there was an obvious influence of their Chinese-styled variants in the adjacent Mongolia.
Finally, in the third period, in 1900-1920-s, close contacts between Buryats and Tibet were established; educated Lama Agwan Lobsan Dorzhiev (1853-1938) was an influenced retinue of Dalai Lama XIII and at the same time he was welcomed at the Russian Imperial Court. So, architects turned to forms of Central Tibet (the region of U-Tsang) copying them rather precisely.
Conclusion. Buryat Buddhist architecture was developing independently on Mongolian one but in a close contacts to it. Buryats always tried to reproduce forms of Tibetan architecture: at first, in symbolical terms (with Russian influences), later in a general outline (with Mongolian and Chinese influences) and, at last, through direct copying of Tibetan forms. Unfortunately, the development of that traditional Buddhist architecture was broken off by the Stalinist repressions of 1930-s and reappeared in 1990-s only.
Вологда была третьим по значению строительным центром России середины XVII—начала XVIII в., но зд... more Вологда была третьим по значению строительным центром России середины XVII—начала XVIII в., но здесь не сложилось собственной архитектурной школы. Первые здания были связаны с мастерами, работавшими в Ярославле, Костроме и Галиче. Последующие храмы «дивного узорочья» были возведены при участии московских мастеров. Скромные храмы раннепетровского времени связаны также с Поволжьем и Устюгом и, воспроизводя формы местного узорочья, очень робко обращаются к нарышкинским формам.
Vologda was the third largest construction centre in Russia in the
mid-17th — early 18th centuries, however no particular architectural school
emerged there. The fi rst buildings in Vologda were associated with masters
who had worked in Yaroslavl, Kostroma and Galich. Churches in the “divnoe
uzoroch’e” (marvelously ornate) style were built with the help of masters
from Moscow. The modest churches of the early Petrine time were also
associated with Volga and Ustyug regions. Reproducing forms of the local
uzoroch’e style, these churches’ design timidly appeals to the forms of the
Naryshkin style.
Предлагаемое исследование — первое, анализирующее обширное наследие (более каменных 70 храмов) ар... more Предлагаемое исследование — первое, анализирующее обширное наследие (более каменных 70 храмов) архитектуры Вологды и окрестных сёл. Господствующим стилем здесь в 1730-е — 1760-е гг. был нарышкинский, в 1770-е гг. барокко. В Вологде иногда работали мастера из Каргополя, Устюга, Москвы и Украины, но, в отличие от предшествующего периода, здесь все же сложилась архитектурная традиция. Для нее характерно сочетание черт консервативных (одноэтажные пятиглавые храмы, встречается двустолпие и допетровский декор) и новаторских (малый восьмерик и полуглавия). Отличительными формами являются окна на четверике в две оси и нарышкинские наличники с многолопастными очельями.
В XVI–XVII вв. столпный храм был главным архитектурным типом. Исследование, впервые обобщившее св... more В XVI–XVII вв. столпный храм был главным архитектурным типом. Исследование, впервые обобщившее сведения о всех храмах этого типа (более 40), построенных после 1730 г., показало, что они теперь обычно копировали региональный образец и строились преимущественно в селах. Сам тип стал более разнообразным за счет новых вариаций с одним и восьмью столбами, а также гибридов с восьмериковыми и многолепестковыми храмами.
Актуальные проблемы теории и истории искусства: сб. науч. статей., 2021
Vladimir Shchuko (1878–1939) was one of the leading Russian architects of the first half of the 2... more Vladimir Shchuko (1878–1939) was one of the leading Russian architects of the first half of the 20th century. The article identifies all the buildings and projects of the master with Italian allusions, defines their prototypes, and studies their role in the general architectural context. Shchuko was the first architect who introduced the Palladian façade with the giant order into the Russian architecture (in his second house of Markov in St. Petersburg, 1910–1911). In the design of the Burtsev house (1911), Shchuko proposed an original interpretation of the Palazzo Tiene by Palladio. The architecture of the Moscow Bank in St. Petersburg (1915) was oriented at the Palazzo Massimo by Peruzzi. The three Schuko’s mansion projects of 1912, 1915, and 1916 published here for the first time reflect his interest in Palladian villas and Basilicas. The project of the State House of Abkhazia (1932) develops the theme of exedra façade from the Palazzo Colonna Barberini in Palestrina, which was used later in many Soviet sanatoria. The Ashgabat theatre (1934) is his most interesting orientalist project based on Venetian forms. The article also emphasizes the striking affinity of certain Shchuko’s buildings with the 1930s Italian architecture. The article concludes that Shchuko was the second Russian architect in terms of the frequency of references to Italian motifs, conceding only to famous Zholtovsky. However, he was the first one in terms of the variety of used prototypes.
Many buildings with Ukrainian architectural features were built in 18 th century Russia in the mi... more Many buildings with Ukrainian architectural features were built in 18 th century Russia in the milieu of intense cultural exchange between Russia and Ukraine. The research aims to discuss how exactly and why Ukrainian elements were used in Russian architecture. Volume organization and decoration of Russian buildings having Ukrainian features are analyzed and compared. The results reveal a clear distinction between the buildings which intentionally copy Ukrainian models or singular elements and those unintentionally using some Ukrainian features as elements of architectural fashion. The detailed analysis of such cases is invaluable for the understanding of Russian architectural transformation in the 18 th century.
Актуальные проблемы теории и истории искусства. Вып. 7. Actual Problems of Theory and History of Art. Vol. 7 , 2017
This article deals with a current theme — the architecture of the contemporary mosque. There are ... more This article deals with a current theme — the architecture of the contemporary mosque. There are only a few monographs on the subject, and even fewer case studies which analyze the architecture of individual buildings in their political context. This article is dedicated to the mosques of Abd al-Qadir in Constantine, Algeria (1972–1994, Ismail Hussein Mohammed) and Hassan II in Casablanca, Morocco (1987–1993, Michel Pinseau) and presents the results of onsite research in 2014–2016. The first of the above-mentioned mosques has not been studied before, and therefore much more attention is paid to it. The author argues that both mosques blend traditional decoration with contemporary spatial solutions, for example the bold diagonal setting of the Casablanca’s minaret. The decoration of this mosque is focused solely on national heritage, but at the same time it is supplemented with modern details and materials. All this should emphasize both the traditionalism and the modernity of Hasan II’s monarchy, as well as inscribe Casablanca in the orbit of the traditional Islam controlled by the king. The creators of the mosque in Constantine оpenly abandoned modernization attempts and emphasized the exact reproduction of the iconic forms of the architecture of Maghreb and al-Andalus. These forms should underline the status of the first Islamic university in socialist Algeria of the 1970s as the new cultural center of the entire Western Islamic world
Память как объект и инструмент искусствознания. / Сост. Е.А. Бобринская, А.С. Корндорф. – М.: ГИИ. Memory as the Subject and Instrument of Art Studies. Collected articles / Compiled by E.A. Bobrinskaya, A.S. Korndorf – Moscow: State Institute of Art Studies. , 2016
This article focuses on the striking similarity of the rural architectural complexes in 16th – 1... more This article focuses on the striking similarity of the rural architectural complexes in 16th – 18th century France and Russia: ‘parish enclosures’ of Lower Brittany and ‘churchyards’ of the Russian North. These monumental and numerous constructions chronologically belong to the Modernity, but their sponsors, builders and users lived in the reality of Late Middle Ages. It is not surprising that from architectural point of view these parish enclosures and churchyards represent Gothic Survival in the Late Renaissance and Baroque eras. Built by mostly unknown builders and craftsmen with financial support of rich local peasants or/and merchants, they are very important historical sources about the everyday life and culture of Lower Brittany and the Russian North. Our comparative study deals with typology, iconography and style of the most important buildings in Pleyben, St.-Thegonnec, Kizhi and Lal’sk. Статья посвящена анализу сельских храмовых комплексов (погостов) в Нижней Бретани и на Русском Севере XVI-XVIII вв. На конкретных примерах показана специфика развития их архитектуры: постепенного заимствования ренессансных и барочных элементов при сохранении средневековой схемы постройки. Учитывая скудность документальных свидетельств, формы архитектурных памятников оказываются важным свидетельством о менталитете и культуре сельского населения периферийных территорий, живших в «долгом Средневековье» на протяжении большей части Нового времени.
The article deals with one of many regional architectural
traditions of Russia. In this period, a... more The article deals with one of many regional architectural traditions of Russia. In this period, about ten churches were built in Kargopol and its surroundings, very few as compared with other regions. None of this buildings have ever been an object of detailed research. The churches represent different architectural trends and were constructed possibly by different building teams, the author argues. Nevertheless, each of them borrows something from previous Kargopol architectural tradition. The cathedral bell tower (1772–1778) is the only example of fine Neoclassical taste, whereas all churches are characterized by old-fashioned Mannerist and even Medieval features. The author concludes, that the Kargopol architecture remains the most conservative regional school in Russia, some buildings still representing Post-Byzantine tradition in the Age of Enlightenment.
The article deals with one of many regional architectural
traditions of Russia. Seven churches we... more The article deals with one of many regional architectural traditions of Russia. Seven churches were built in Kargopol in this period. The author argues that they follow the previous local architectural trends and two of them are of special architectural interest. Trinity church in Troitsa (1744), which is a transformed variant of Solovki monastery church and St. John Baptist Nativity church in Kargopol (1751), notable for a rare two-pillar construction and a unique ‘cask’-vaulted altar. All the churches under consideration have a peculiar style, characterized by conservatism and occasional use of features typical of wooden buildings. The author concludes that the Kargopol architecture remains the most conservative of the mid-18th century regional schools in Russia.
The article deals with one of many regional architectural
traditions of Russia in the 18th centur... more The article deals with one of many regional architectural traditions of Russia in the 18th century. Only three churches were built in Kargopol in this period, and they have never been subject of detailed research. The only surviving building the katholikon of Oshevensk monastery (1707–1734) is the key artifact. The author argues, that the church receives very sophisticated composition due to desire of its founders to copy the architectural forms of the famous Solovki monastery. The second church, that of the Spasski monastery (1707–1717), located in the town of Kargopol, is now destroyed and only can be seen on some old photos. These photos were discovered in the archive by the author and were published for the first time in this article. Unfortunately, we have no images of the third, Uspenski church in Kargopol (1715–1730) which was also destroyed. Its forms are roughly described on the basis of archive documents. The author concludes, the Kargopol architecture is unique because it is the most conservative one in the early 18th century Russia. The buildings still represent Post-Byzantine tradition some 30 years after the introduction of European Mannerist and Baroque forms into Russian architecture.
The paper describes four little-known buildings of the 1770s — church
of the Posolski Monastery o... more The paper describes four little-known buildings of the 1770s — church of the Posolski Monastery on Lake Baikal, Trinity Church in Yeniseisk, St. Vladimir’s Church in Irkutsk and the Church of Our Lady Hodegetria in Kuznetsk. Research shows that all of them follow the forms of the Irkutsk School. The architecture of the Irkutsk church does not inluence other constructions, while the one in Yeniseisk plays a key role in the formation of the local Baroque style. This “transfer” of tradition appears as a phenomenon, that is not typical for Russian provincial architectural schools in the 18th century
The object of the presented research is a definition of style of the architecture of Arckhangelsk... more The object of the presented research is a definition of style of the architecture of Arckhangelsk and surrounding territories in the XVIII c. The number of stone churches built in this predominantly wood-using region was newer high, but only very few remain after years of Soviet cultural terror. The first churches of Arkhangelsk belong to “The Kholmogory school” (of a diocese centre), created by the patronage of archbishop Athanasios (1682–1702). This archaic tradition survived in the countryside monuments till 1730th. A new “Arkhangelsk city” architectural school was created with the construction of a Troitskiy cathedral (1709–1743) in the new diocese capital, Arkhangelsk. I suggest it was built by masons from Velikiy Ustig (“the Great Ustiug”), true economy and culture heart of the immense territories of the North and East of Russia, from White Sea to Baykal. New approaches were soon adopted by the constructors of some elegant churches alongside Dvina riverfront, which appear in 1740th – 1760th after the completion of the cathedral. This churches belong to late phase of Naryshkin style, distinctive for some remote regions and cities as Viatka, Tobolsk, Irkutsk etc. This school however don’t developed a later Baroque style: sparse sponsors and masters didn’t found means nor abilities to create such flamboyant masterpieces as some 1770th–1790th churches in Totma, Viatka, Western Siberia and Baykal region.
The Russian culture of late XVII and first half of XVIII centuries was deeply influenced by many ... more The Russian culture of late XVII and first half of XVIII centuries was deeply influenced by many representatives of the clergy coming from the Lavra of Kiev – the main spiritual and educational centre of the Eastern Orthodoxy. In the field of architecture this impact wasn’t so decisive as in icon painting or church singing. The only part of Russia where Ukrainian formed the basis of local architectural schools was Siberia. The key Ukrainian figure was Metropolitan Filofey Leshchinsky (1650–1727), a fervent preacher among native pagans and Old Believers, a true apostle of Siberian lands. The splendid Trinity Monastery in Tiumen’ (1708-1741), a copy of the Lavra, was his main architectural legacy. Posterior Ukrainian Metropolitans of Siberia kept on the Kiev-oriented program. They added Ukrainian “bania” cupolas to the St. Sophia in Tobol’sk (1726–1727, 1735), erected a winter cathedral in honor of the founders of the Lavra (1743–1746), created a “space model” of the miracle-working icon of Our Lady of Abalak (1748–1759) following Ukrainian patterns. “Ukrainisms” were adopted by Siberian architectural traditions both as symbolic models and as simply a building method. The Trinity Monastery served as a model for Baroque churches of Tiumen’ — Znamenskaya (1768–1801) and Spasskaya (c. 1770 – 1796) ones. The “bania” cupolas appear as the most assimilated Ukrainian form, widely used in East and West Siberia till the end of XVIII c., particularly in wooden churches. Tobol’sk masons succeeded in blending of Ukrainian facades with traditional Russian volumes. If a composition with the so called “big octagon” wasn’t a great achievement, churches with the “small octagon” really were; the first one of such type was the church of Archangel Michael (1745–1749) in Tobol’sk. They were successfully adopted by different local traditions and were built throughout Siberia till the early XIX c. What is the secret of such success of Ukrainian architectural forms in the remote Siberia? It seems, it grew from Filofey’s brilliant personality, his talent for architectural invention and a lack of a long-standing architectural tradition in partibus infidelium.
The article offers a new approach to the study of traditional non-wooden architecture in the hist... more The article offers a new approach to the study of traditional non-wooden architecture in the historical capital of East Siberia between 1740 and 1775. The focal point of the research is the well-known Krestovskaya church (1747–1760), the exuberant Buryat decorativism of which had given cause for some speculations about the “oriental” nature of “Siberian Baroque”. Traditionally for the Russian Art history, the whole period between Old Russian and Neoclassical styles (late XVII – late XVIII c.) was classified as Baroque, while the existence of numerous and extremely various stylistic trends were neglected. Only recent years, some studies dealt with the ‘Naryshkin style’, the Russian version of North European Mannerism, and its regional varieties. Mannerism as a style was very sensitive to the local, mostly late medieval architectural traditions. So architecture of Russian regions must be considered as one of many exuberant achievements at the European periphery, such as “mestizo” of Alto Peru or “Barocco Salentino” of Lecce. Dr. Maciel argues that in the case of mid XVIII c. Irkutsk the masons from Veliky Ustiug, the economical capital of North Russia, were responsible for the creation of a specific local trend of ‘Naryshkin style’. This trend hugely differs from the regular ‘Naryshkin style’ represented in Irkutsk with some early 18th c. churches. Around 1775, it had given way to the true Baroque compositions, influenced by the traditions of another North Russian city, Tot’ma. So, the analyzed monuments constitute one of numerous late medieval vernacular architectural schools of the North and North-East of Russia, an outpost region of the Post-Byzantine spiritual tradition in the emerging Imperial Russia.
— “The Buddhist Temples of Buryatia: from Russia to Tibet” in: Architectural Heritage. Vol. 58. Мoscow, 2013. P. 94–103
Buryats are a group of Mongols. Their Buddhist architecture is rather distinctive because the ter... more Buryats are a group of Mongols. Their Buddhist architecture is rather distinctive because the territory of those tribes has become a part of Russian Empire since the mid 18th cent., meanwhile the rest of Mongolia belonged to China. Buddhist architecture of Buryats is studied unsatisfactory because almost all the monuments (as well as those of Mongolia) were destroyed in 1930-s (from 47 monasteries only 3 survived). This article is the first attempt to consider the phenomenon of Buryat Buddhist temples in the context of neighboring architectures; dividing it into three periods we are to define a specific of each of them.
The first period was from the mid 18th cent. (when they began to build stationary temples) till the first half of the 19th cent. Those temples reproduced the Tibetan iconography but in the most general outline, mainly taking as a sample drawn mandalas. A decisive stylistic influence was that one from Russian church architecture in its vernacular variant of Mannerism and later Baroque. Russians built monumental wooden and later stone edifices earlier than Buryats did, that is why the first Buryat Datsans (monasteries) were built by Russian masters.
The second period took the second half of the 19th cent., when the general volume of construction works grew significantly. Buryats refused from typical Russian architectural elements and turned to specific Tibetan samples. On my opinion, such samples were found in the historical province of Amdo: the Labrang Monastery, first of all. At that, the forms were interpreted in general terms, often there was an obvious influence of their Chinese-styled variants in the adjacent Mongolia.
Finally, in the third period, in 1900-1920-s, close contacts between Buryats and Tibet were established; educated Lama Agwan Lobsan Dorzhiev (1853-1938) was an influenced retinue of Dalai Lama XIII and at the same time he was welcomed at the Russian Imperial Court. So, architects turned to forms of Central Tibet (the region of U-Tsang) copying them rather precisely.
Conclusion. Buryat Buddhist architecture was developing independently on Mongolian one but in a close contacts to it. Buryats always tried to reproduce forms of Tibetan architecture: at first, in symbolical terms (with Russian influences), later in a general outline (with Mongolian and Chinese influences) and, at last, through direct copying of Tibetan forms. Unfortunately, the development of that traditional Buddhist architecture was broken off by the Stalinist repressions of 1930-s and reappeared in 1990-s only.
Начавшиеся во второй половине XVIII века работы по масштабному переустройству городов послужили т... more Начавшиеся во второй половине XVIII века работы по масштабному переустройству городов послужили толчком для активного церковного строительства. Одним из значительных явлений для всего XVIII века было создание крупных монастырей и городских соборных комплексов. На последнюю четверть XVIII столетия пришелся яркий расцвет региональной архитектуры Тотьмы Появление новых типов зданий, таких как ротонды, базилики или зальные церкви было инспирировано самим Петром, или его сподвижниками. 405 Никольский Пустынно-Рыхловский монастырь. Середина XVIII в. Литография второй половины XIX в. 406 Нило-Столобенская пустынь. Середина XVIII в. Вид с птичьего полета до перестройки. Гравюра конца XVIII в.
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Papers by Lev Maciel
Vologda was the third largest construction centre in Russia in the
mid-17th — early 18th centuries, however no particular architectural school
emerged there. The fi rst buildings in Vologda were associated with masters
who had worked in Yaroslavl, Kostroma and Galich. Churches in the “divnoe
uzoroch’e” (marvelously ornate) style were built with the help of masters
from Moscow. The modest churches of the early Petrine time were also
associated with Volga and Ustyug regions. Reproducing forms of the local
uzoroch’e style, these churches’ design timidly appeals to the forms of the
Naryshkin style.
buildings in their political context. This article is dedicated to the mosques of Abd al-Qadir in Constantine, Algeria (1972–1994, Ismail Hussein Mohammed) and Hassan II in Casablanca, Morocco (1987–1993, Michel Pinseau) and presents the results of onsite research in 2014–2016. The first of the above-mentioned mosques has not been studied before, and therefore much more attention is paid to it. The author argues that both mosques blend traditional decoration with contemporary spatial solutions, for example the bold diagonal setting of the Casablanca’s minaret. The decoration of this mosque is focused solely on national heritage, but at the same time it is supplemented with modern details and materials. All this should emphasize both the traditionalism and the modernity of Hasan II’s monarchy, as well as inscribe Casablanca in the orbit of the traditional Islam controlled by the king. The creators of the mosque in Constantine оpenly abandoned modernization attempts and emphasized the exact reproduction of the iconic forms of the architecture of Maghreb and al-Andalus. These forms should underline the status of the first Islamic university in socialist Algeria of the 1970s as the new cultural center of the entire Western Islamic world
traditions of Russia. In this period, about ten churches were
built in Kargopol and its surroundings, very few as compared
with other regions. None of this buildings have ever been an
object of detailed research. The churches represent different
architectural trends and were constructed possibly by different
building teams, the author argues. Nevertheless, each of them
borrows something from previous Kargopol architectural
tradition. The cathedral bell tower (1772–1778) is the only
example of fine Neoclassical taste, whereas all churches are
characterized by old-fashioned Mannerist and even Medieval
features. The author concludes, that the Kargopol architecture
remains the most conservative regional school in Russia, some
buildings still representing Post-Byzantine tradition in the
Age of Enlightenment.
traditions of Russia. Seven churches were built in Kargopol in
this period. The author argues that they follow the previous
local architectural trends and two of them are of special
architectural interest. Trinity church in Troitsa (1744), which
is a transformed variant of Solovki monastery church and St.
John Baptist Nativity church in Kargopol (1751), notable for a
rare two-pillar construction and a unique ‘cask’-vaulted altar.
All the churches under consideration have a peculiar style,
characterized by conservatism and occasional use of features
typical of wooden buildings. The author concludes that the
Kargopol architecture remains the most conservative of the
mid-18th century regional schools in Russia.
traditions of Russia in the 18th century. Only three churches
were built in Kargopol in this period, and they have never
been subject of detailed research. The only surviving building
the katholikon of Oshevensk monastery (1707–1734) is the
key artifact. The author argues, that the church receives very
sophisticated composition due to desire of its founders to copy
the architectural forms of the famous Solovki monastery. The
second church, that of the Spasski monastery (1707–1717),
located in the town of Kargopol, is now destroyed and only can
be seen on some old photos. These photos were discovered in the
archive by the author and were published for the first time in this
article. Unfortunately, we have no images of the third, Uspenski
church in Kargopol (1715–1730) which was also destroyed. Its
forms are roughly described on the basis of archive documents.
The author concludes, the Kargopol architecture is unique
because it is the most conservative one in the early 18th century
Russia. The buildings still represent Post-Byzantine tradition
some 30 years after the introduction of European Mannerist and
Baroque forms into Russian architecture.
of the Posolski Monastery on Lake Baikal, Trinity Church in Yeniseisk, St.
Vladimir’s Church in Irkutsk and the Church of Our Lady Hodegetria
in Kuznetsk. Research shows that all of them follow the forms of the
Irkutsk School. The architecture of the Irkutsk church does not inluence
other constructions, while the one in Yeniseisk plays a key role in the
formation of the local Baroque style. This “transfer” of tradition appears
as a phenomenon, that is not typical for Russian provincial architectural
schools in the 18th century
The key Ukrainian figure was Metropolitan Filofey Leshchinsky (1650–1727), a fervent preacher among native pagans and Old Believers, a true apostle of Siberian lands. The splendid Trinity Monastery in Tiumen’ (1708-1741), a copy of the Lavra, was his main architectural legacy. Posterior Ukrainian Metropolitans of Siberia kept on the Kiev-oriented program. They added Ukrainian “bania” cupolas to the St. Sophia in Tobol’sk (1726–1727, 1735), erected a winter cathedral in honor of the founders of the Lavra (1743–1746), created a “space model” of the miracle-working icon of Our Lady of Abalak (1748–1759) following Ukrainian patterns.
“Ukrainisms” were adopted by Siberian architectural traditions both as symbolic models and as simply a building method. The Trinity Monastery served as a model for Baroque churches of Tiumen’ — Znamenskaya (1768–1801) and Spasskaya (c. 1770 – 1796) ones. The “bania” cupolas appear as the most assimilated Ukrainian form, widely used in East and West Siberia till the end of XVIII c., particularly in wooden churches. Tobol’sk masons succeeded in blending of Ukrainian facades with traditional Russian volumes. If a composition with the so called “big octagon” wasn’t a great achievement, churches with the “small octagon” really were; the first one of such type was the church of Archangel Michael (1745–1749) in Tobol’sk. They were successfully adopted by different local traditions and were built throughout Siberia till the early XIX c.
What is the secret of such success of Ukrainian architectural forms in the remote Siberia? It seems, it grew from Filofey’s brilliant personality, his talent for architectural invention and a lack of a long-standing architectural tradition in partibus infidelium.
Dr. Maciel argues that in the case of mid XVIII c. Irkutsk the masons from Veliky Ustiug, the economical capital of North Russia, were responsible for the creation of a specific local trend of ‘Naryshkin style’. This trend hugely differs from the regular ‘Naryshkin style’ represented in Irkutsk with some early 18th c. churches. Around 1775, it had given way to the true Baroque compositions, influenced by the traditions of another North Russian city, Tot’ma. So, the analyzed monuments constitute one of numerous late medieval vernacular architectural schools of the North and North-East of Russia, an outpost region of the Post-Byzantine spiritual tradition in the emerging Imperial Russia.
The first period was from the mid 18th cent. (when they began to build stationary temples) till the first half of the 19th cent. Those temples reproduced the Tibetan iconography but in the most general outline, mainly taking as a sample drawn mandalas. A decisive stylistic influence was that one from Russian church architecture in its vernacular variant of Mannerism and later Baroque. Russians built monumental wooden and later stone edifices earlier than Buryats did, that is why the first Buryat Datsans (monasteries) were built by Russian masters.
The second period took the second half of the 19th cent., when the general volume of construction works grew significantly. Buryats refused from typical Russian architectural elements and turned to specific Tibetan samples. On my opinion, such samples were found in the historical province of Amdo: the Labrang Monastery, first of all. At that, the forms were interpreted in general terms, often there was an obvious influence of their Chinese-styled variants in the adjacent Mongolia.
Finally, in the third period, in 1900-1920-s, close contacts between Buryats and Tibet were established; educated Lama Agwan Lobsan Dorzhiev (1853-1938) was an influenced retinue of Dalai Lama XIII and at the same time he was welcomed at the Russian Imperial Court. So, architects turned to forms of Central Tibet (the region of U-Tsang) copying them rather precisely.
Conclusion. Buryat Buddhist architecture was developing independently on Mongolian one but in a close contacts to it. Buryats always tried to reproduce forms of Tibetan architecture: at first, in symbolical terms (with Russian influences), later in a general outline (with Mongolian and Chinese influences) and, at last, through direct copying of Tibetan forms. Unfortunately, the development of that traditional Buddhist architecture was broken off by the Stalinist repressions of 1930-s and reappeared in 1990-s only.
Vologda was the third largest construction centre in Russia in the
mid-17th — early 18th centuries, however no particular architectural school
emerged there. The fi rst buildings in Vologda were associated with masters
who had worked in Yaroslavl, Kostroma and Galich. Churches in the “divnoe
uzoroch’e” (marvelously ornate) style were built with the help of masters
from Moscow. The modest churches of the early Petrine time were also
associated with Volga and Ustyug regions. Reproducing forms of the local
uzoroch’e style, these churches’ design timidly appeals to the forms of the
Naryshkin style.
buildings in their political context. This article is dedicated to the mosques of Abd al-Qadir in Constantine, Algeria (1972–1994, Ismail Hussein Mohammed) and Hassan II in Casablanca, Morocco (1987–1993, Michel Pinseau) and presents the results of onsite research in 2014–2016. The first of the above-mentioned mosques has not been studied before, and therefore much more attention is paid to it. The author argues that both mosques blend traditional decoration with contemporary spatial solutions, for example the bold diagonal setting of the Casablanca’s minaret. The decoration of this mosque is focused solely on national heritage, but at the same time it is supplemented with modern details and materials. All this should emphasize both the traditionalism and the modernity of Hasan II’s monarchy, as well as inscribe Casablanca in the orbit of the traditional Islam controlled by the king. The creators of the mosque in Constantine оpenly abandoned modernization attempts and emphasized the exact reproduction of the iconic forms of the architecture of Maghreb and al-Andalus. These forms should underline the status of the first Islamic university in socialist Algeria of the 1970s as the new cultural center of the entire Western Islamic world
traditions of Russia. In this period, about ten churches were
built in Kargopol and its surroundings, very few as compared
with other regions. None of this buildings have ever been an
object of detailed research. The churches represent different
architectural trends and were constructed possibly by different
building teams, the author argues. Nevertheless, each of them
borrows something from previous Kargopol architectural
tradition. The cathedral bell tower (1772–1778) is the only
example of fine Neoclassical taste, whereas all churches are
characterized by old-fashioned Mannerist and even Medieval
features. The author concludes, that the Kargopol architecture
remains the most conservative regional school in Russia, some
buildings still representing Post-Byzantine tradition in the
Age of Enlightenment.
traditions of Russia. Seven churches were built in Kargopol in
this period. The author argues that they follow the previous
local architectural trends and two of them are of special
architectural interest. Trinity church in Troitsa (1744), which
is a transformed variant of Solovki monastery church and St.
John Baptist Nativity church in Kargopol (1751), notable for a
rare two-pillar construction and a unique ‘cask’-vaulted altar.
All the churches under consideration have a peculiar style,
characterized by conservatism and occasional use of features
typical of wooden buildings. The author concludes that the
Kargopol architecture remains the most conservative of the
mid-18th century regional schools in Russia.
traditions of Russia in the 18th century. Only three churches
were built in Kargopol in this period, and they have never
been subject of detailed research. The only surviving building
the katholikon of Oshevensk monastery (1707–1734) is the
key artifact. The author argues, that the church receives very
sophisticated composition due to desire of its founders to copy
the architectural forms of the famous Solovki monastery. The
second church, that of the Spasski monastery (1707–1717),
located in the town of Kargopol, is now destroyed and only can
be seen on some old photos. These photos were discovered in the
archive by the author and were published for the first time in this
article. Unfortunately, we have no images of the third, Uspenski
church in Kargopol (1715–1730) which was also destroyed. Its
forms are roughly described on the basis of archive documents.
The author concludes, the Kargopol architecture is unique
because it is the most conservative one in the early 18th century
Russia. The buildings still represent Post-Byzantine tradition
some 30 years after the introduction of European Mannerist and
Baroque forms into Russian architecture.
of the Posolski Monastery on Lake Baikal, Trinity Church in Yeniseisk, St.
Vladimir’s Church in Irkutsk and the Church of Our Lady Hodegetria
in Kuznetsk. Research shows that all of them follow the forms of the
Irkutsk School. The architecture of the Irkutsk church does not inluence
other constructions, while the one in Yeniseisk plays a key role in the
formation of the local Baroque style. This “transfer” of tradition appears
as a phenomenon, that is not typical for Russian provincial architectural
schools in the 18th century
The key Ukrainian figure was Metropolitan Filofey Leshchinsky (1650–1727), a fervent preacher among native pagans and Old Believers, a true apostle of Siberian lands. The splendid Trinity Monastery in Tiumen’ (1708-1741), a copy of the Lavra, was his main architectural legacy. Posterior Ukrainian Metropolitans of Siberia kept on the Kiev-oriented program. They added Ukrainian “bania” cupolas to the St. Sophia in Tobol’sk (1726–1727, 1735), erected a winter cathedral in honor of the founders of the Lavra (1743–1746), created a “space model” of the miracle-working icon of Our Lady of Abalak (1748–1759) following Ukrainian patterns.
“Ukrainisms” were adopted by Siberian architectural traditions both as symbolic models and as simply a building method. The Trinity Monastery served as a model for Baroque churches of Tiumen’ — Znamenskaya (1768–1801) and Spasskaya (c. 1770 – 1796) ones. The “bania” cupolas appear as the most assimilated Ukrainian form, widely used in East and West Siberia till the end of XVIII c., particularly in wooden churches. Tobol’sk masons succeeded in blending of Ukrainian facades with traditional Russian volumes. If a composition with the so called “big octagon” wasn’t a great achievement, churches with the “small octagon” really were; the first one of such type was the church of Archangel Michael (1745–1749) in Tobol’sk. They were successfully adopted by different local traditions and were built throughout Siberia till the early XIX c.
What is the secret of such success of Ukrainian architectural forms in the remote Siberia? It seems, it grew from Filofey’s brilliant personality, his talent for architectural invention and a lack of a long-standing architectural tradition in partibus infidelium.
Dr. Maciel argues that in the case of mid XVIII c. Irkutsk the masons from Veliky Ustiug, the economical capital of North Russia, were responsible for the creation of a specific local trend of ‘Naryshkin style’. This trend hugely differs from the regular ‘Naryshkin style’ represented in Irkutsk with some early 18th c. churches. Around 1775, it had given way to the true Baroque compositions, influenced by the traditions of another North Russian city, Tot’ma. So, the analyzed monuments constitute one of numerous late medieval vernacular architectural schools of the North and North-East of Russia, an outpost region of the Post-Byzantine spiritual tradition in the emerging Imperial Russia.
The first period was from the mid 18th cent. (when they began to build stationary temples) till the first half of the 19th cent. Those temples reproduced the Tibetan iconography but in the most general outline, mainly taking as a sample drawn mandalas. A decisive stylistic influence was that one from Russian church architecture in its vernacular variant of Mannerism and later Baroque. Russians built monumental wooden and later stone edifices earlier than Buryats did, that is why the first Buryat Datsans (monasteries) were built by Russian masters.
The second period took the second half of the 19th cent., when the general volume of construction works grew significantly. Buryats refused from typical Russian architectural elements and turned to specific Tibetan samples. On my opinion, such samples were found in the historical province of Amdo: the Labrang Monastery, first of all. At that, the forms were interpreted in general terms, often there was an obvious influence of their Chinese-styled variants in the adjacent Mongolia.
Finally, in the third period, in 1900-1920-s, close contacts between Buryats and Tibet were established; educated Lama Agwan Lobsan Dorzhiev (1853-1938) was an influenced retinue of Dalai Lama XIII and at the same time he was welcomed at the Russian Imperial Court. So, architects turned to forms of Central Tibet (the region of U-Tsang) copying them rather precisely.
Conclusion. Buryat Buddhist architecture was developing independently on Mongolian one but in a close contacts to it. Buryats always tried to reproduce forms of Tibetan architecture: at first, in symbolical terms (with Russian influences), later in a general outline (with Mongolian and Chinese influences) and, at last, through direct copying of Tibetan forms. Unfortunately, the development of that traditional Buddhist architecture was broken off by the Stalinist repressions of 1930-s and reappeared in 1990-s only.