{"id":18082,"date":"2020-05-14T12:17:04","date_gmt":"2020-05-14T09:17:04","guid":{"rendered":"http:\/\/go-to.rest\/blog\/church-of-john-the-baptist-in-the-village-of-sukhoi\/"},"modified":"2020-05-14T12:17:05","modified_gmt":"2020-05-14T09:17:05","slug":"church-of-john-the-baptist-in-the-village-of-sukhoi","status":"publish","type":"post","link":"http:\/\/prod.go-to.rest\/blog\/de\/church-of-john-the-baptist-in-the-village-of-sukhoi\/","title":{"rendered":"Church of John the Baptist in the village of Sukhoi"},"content":{"rendered":"\n

Quite a difficult option Church of the Boyko type<\/a>s Troma of the top two bushels can pobachiti in Seli dry Of the velikobereznyansky district<\/a> Transcarpathian region.<\/p>\n\n

Researchers have two versions of the build time of this temple’s<\/a>: 1679 and 1769. The first option is more plausible, because the temple<\/a> \u0437beware of icons of the XVII century. In 1769, most likely, the upper part of the existing Church was rebuilt over the Babinets. The temple is constructed of spruce beams<\/a> the masters who built the wooden Church in S. Vishka<\/a>. Located a little further from the houses, on the hillside among the trees, the Church is already from afar as if attracts the eyes of tourists. The Church of John the Baptist differs in its proposals from the churches inThe Uzhok<\/a> and Goose<\/a>. It has a more complex silhouette of three towers-tops. The tower above Babinets is higher than the Central one, turned into a bell tower, but of proportions Boiko<\/a> it doesn’t violate the law. Log cabins are significantly tilted inward. The roof of the Church is covered with tin, the walls are covered with wooden clapboard. All three parts of the Church are covered with a hipped roof with three halls. Above the flat ceiling of the babynets is a gallery-Gavroche, which is open to the Central part of the temple.<\/p>\n

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The interior of the Church of John the Baptist has preserved works of easel tempera painting of the XVI-XVIII century. attracting attention with its naive realism, sincerity of artistic expression, its artless narrative form of the icon “Crucifixion” in 1678 by Ivan Vyshensky and “Sacrifice of Abraham” in 1679 by Ivan Shchyretsky. They belong to the popular direction Transcarpathian painting<\/a>, where every icon painter tried to fill his works with civil pathos. Icons of this direction lose their purely ecclesiastical character, arouse interest and attention to the person. Shchyretsky introduces the Carpathian landscape, which is close to him, into the composition of the icon. All the simplicity of expression of feelings and at the same time the naive significance of each image speak about the deeply folk character of this painting.<\/p>\n

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