International congress of byzantine studies belgrade, 22 27 august 2016

Evgeny N. Torshin
State Hermitage Museum, St. Petersburg, Russian Federation; 
[e-mail]
Русские и византийские черты в архитектуре Полоцка XII века
Поиск своеобразия архитектуры Древней Руси долгое время был важной темой 
русской историографии средневековой архитектуры. Это своеобразие часто виделось в 
противопоставление «русских» и «византийских» традиций. Древняя русская церковная 
архитектура представлялась состоявшейся в разрыве с византийской традицией. Сейчас 
архитектуру Древней Руси принято рассматривать в контексте искусства византийского 
мира искать почти в каждом памятнике «византийский источник».
Полоцк город в западной части Руси. Здесь в XI-XIII веках велось строительство 
храмов из плинфы. Археологические исследования позволили обнаружить и изучить 
остатки 8 построек, еще одно здание - церковь Спаса (XII в) - сохранилось до наших дней. 
Небольшое число памятников не мешает считать полоцкое строительство важным этапом в 
формировании древнерусской архитектурной традиции
Проблему соотношения византийских и русских традиций в архитектуре Полоцкой 
земли вновь сделали актуальной археологические исследования церкви Спаса, проведенные 
в 2015 году. Они полностью изменили наши представления об этой постройке
Архитектурные формы церкви Спаса, уточненные в ходе исследований, находят 
аналогии в византийской архитектуре. К ним можно отнести объемно – пространственную 
композицию постройки и применение отдельных конструктивных и декоративных решений. 
Однако следует обратить внимание, что те же черты, за редким исключением характерны 
для ряда храмов других регионов Руси. Это еще раз свидетельствует о невозможности 
проложить четкую границу между византийской и древнерусской архитектурой XI –XIII вв.
Sergey Klyuev
Research Institute of Theory and History of Architecture and Urban Planning, 
Khimki, Moscow Region, Russian Federation; 
[e-mail]
Three Rock-Hewn Churches of “Tigray Cross-in-Square” Type
Three rock-hewn churches of “Tigray cross-in-square” type have some characteristics that 
distinguish them from other rock-hewn churches of Ethiopia. They are untypically large; the east 
part is hidden in rock as usually in hypogean architecture, but the west part is separated of rock and 
has three facades; they have barrel-vaults. All these features indicate that these churches have more 
in common with the churches of Lalibela than with another tigrean rock-hewn monument.

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But, there is no trace or imitation of first floor, differently than in the churches of Lalibela. In 
Lalibela complex, wooden structures, like windows and doors frames are completely made in rock. In 
“Tigray cross-in-square” churches doors and windows frames are made of wood and fixed in the rock. 
However, this feature can be not a marker of dating of their creation, but regional feature of Tigray.
The transept of “Tigray cross-in-square” churches is a particular feature, unknown in other 
rock-hewn churches of Tigray and Lasta region including Lalibela. It is punctuated by barrel-vault 
and axumite frieze (a frieze of false windows), and not indicated in the exterior.
The largest one of the pastofories, as noted by several authors, intended for the storage of relics, 
and arises from the funerary churches of valley type - the earliest example of which is considered to 
be complex in Degum.
But, in contrast to the earlier funerary churches of valley type, where the central part of maqdas 
(sanctuary) marked by an imitation of semi-cupola with ribs or brackets, here is an imitation of 
dome located west of maqdas conch.
These churches also differ for its rich ornamental decoration of a particular type. It remained 
in the best condition in Abreha-Atsbeha and almost lost in Mikael Amba. It has similarities with 
ornaments of carved wooden panels of the liturgical barriers. These patterns have similar decoration 
with wooden haykals of churches and monasteries of Coptic Egypt. In the church Abreha-Atsbeha 
also found patterns that have probably Islamic origin. All this features can show parallels with the 
decoration of Islamic Egyptian architecture of the VII-XIII centuries. It can indicate an influence of 
Islamic Art through the Coptic one.
Ornaments of Islamic origin and painting of Coptic craftsmen’s, as the scholarlies note, are 
known for the church of Yemrehanna Krestos of the XI - the middle of the XII centuries. Also, the 
influence of the Egyptian Coptic and Islamic art ornamental subjects observed in the decoration of 
the church Beta Maryam in Lalibela and other churches of complex.
There are parallels between the plans of “Tigray cross-in-square” churches and the Christian 
churches of the states of medieval Nubia. For example Church of granite columns in Dongola, where 
is noted the similarity of a transept.
There is another church in makurian city of Dongola, which is known by their cross-shaped 
plan. It also can be compared with the considered type of tigrean churches.
The appearance of barrel-vault in Ethiopia can be connected with Coptic influence. In Egypt, 
we know wooden barrel-vault in the nave of the church of El Muallaqa in Cairo. 
Purpose of these churches as a funeral, reliquaries, and pilgrimage destination, can show 
parallels with the crypts of some Egyptian churches. 
The report examines the version of relation of medieval Nubian and Ethiopian architecture at 
the question of genesis of plans of “Tigray cross-in-square” churches. Also message examines the 
influence of Egypt in the design and decoration of the vaults and walls. 
Chronology of Ethiopian architecture, including “Tigray cross-in-square” churches, is 
sophisticated question, and author hopes this report may add some new details to this subject.

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