Specific features and uniqueness of the Kazan Cathedral paintings in Tambov in the context of the artistic and historical development of church painting in the grisaille technique

This article examines the paintings of the Kazan Cathedral in Tambov, which is part of the temple complex of the Kazan Mother of God Monastery of the Tambov Diocese, in the context of the artistic and historical development of church painting made in the grisaille technique.

The relevance of the study is due to the fact that there are many myths and legends around the grisaille paintings in the Kazan Monastery, actively spread by tour guides among tourist groups. Our goal is to dispel these stereotypes and provide reliable information about the paintings of the Kazan Monastery Cathedral. In the course of the work, the author determines the features and highlights the unique characteristics of the painting of the Kazan Cathedral in Tambov among the general structure of church art works made in the grisaille technique.

The representation of the semantic content of the ornaments and gospel stories presented in the interior painting of the Kazan Cathedral is made using semiotic-hermeneutic and interpretive research methods. Using comparative and formal-stylistic analysis, the author seeks to expand and organize knowledge about the grisaille technique, uses reference comparative material, draws analogies, and thus presents a detailed overview of grisaille samples that can be found in Russia.

The author summarizes that despite the fact that the paintings of the Kazan Cathedral of the Tambov Monastery are not defining works of Russian art, they are still of interest to the national culture due to their harmony, philosophical depth, and timeless focus on revealing the doctrinal truths of Orthodoxy. All of the above makes them significant for study by theologians, historians, art historians, and local historians.

Kazan Cathedral of Tambov, Kazan Mother of God Monastery of Tambov, paintings, church painting, grisaille