Biserica "Sf. Nicolae", Cîineni Mici, comuna Cîineni, județul Vâlcea (1981)

1981

The photograph is part of the Research Report No. 663 “Study on the architecture of cult monuments.” The excavations were conducted in 1981 in Loviste Land. In the image of the church dedicated to “St. Nicholas” from the village of Cîinenii Mici, Camineni commune. The church was built and painted in 1733, painted in 1758 and 1864; the tradition says that it was built by the Mocans settled in the locality; from the Pisans and from the portraits of the founders we find Greek names among the donors. Pisania - a slab carved in the porch above the door (in Cyrillic letters): "This holy and goddamn place have come to light and have risen in honor and praise of the holy miracle maker Nicolae from Mira Likiei at all expense of the late Jupian Nicola Petru with skill and with the laborious Jupan Gugu- Nicociovni by the intercession of Gheorghe Tania Saint George Inscription on the west wall of the nave, over the door, in Greek letters, which became illegible and 1758. Inscription proscomidia - deception of donor names; lower, with larger characters: Hristea, ereu Gheorghe, Magdalina ereița, 1758. Exterior inscription: south wall - framed by two donor portraits; Cyrillic letters, become illegible, anul1846; on the column in the porch: Ionța zugrav. Inscriptions narthex, west wall: jupan Necula “that have walled this holy church from the foundation”; jupan Costea Vilara “it paid to painted this holy church.” Building materials: river stone foundation; masonry made of stone osses alternated with brick; brick vaults and towers; wooden snake and sheet metal covers. Architecture Plan - rectangular nave with undecorated pentagonal apse, open porch on columns; the altar is semicircular in the interior, but the walled iconostasis; the wall between the nave and narthex has three openings (door and two side windows, diagonally arched); bell tower over narthex, with access staircase to the north wall. Elevation: the socket and walls of alternated asizes, thick walls; the windows (three at the nave and two at the narthex, in the axis of the apse) are narrow, rectangular, with the glaze flared inwards; the porch opened on 6 columns with tronconic bases and trapezoidal capitals, with arches in the acolade; the vaulting 1. The apse covered with a quarter of a calot, separated from the nave by a massive triumphal arch; 2. naos vaulted with a low calot, supported on 4 pendants; 3. pronaos - two longitudinal lateral arches, centrally a peat covered with a calotta, with the drain through the pendants; 4. Pridvor - central cauldron and transverse side half-cylinders; 5. Polygonal bell tower, on a square base, with high, narrow windows, framed by retreating semicircular arches; four-water and semicircular covers over the apse conk; the tower with a shell compartmentalized in onion bulb. Architectural decoration: socket marked by a weirdness; girdle in the upper part of the walls, consisting of a profiled weir, framed by two rows of “wolf teeth” (made of brick arranged on the corner); the row delimits the register of the arches in the acolade, marked by two and supported by the capitals with masonry masonry capitals, strongly profiled from concave and convex torches. Painting - Iconography Altar - conca: Mother of God with Child on the throne, framed by two archangels; walls: glory of saints and hierarchs; proscomidie: The complaint of Jesus Christ, inscription on the stone from Ephesus; Iconostas: tympanum - Ascension of the Lord; walls - two saints deacons; Naos - iconostasis: Molenii, apostles, feast, royal icons in horizontal registers; calotta: Jesus Pantocrato Pronaos - the glaff of the door: Zosim and Maria Egyteanca; calotta: Jesus Teacher; pendants: evangelists; logitudinal arches: two prophets; walls - east: Sobor of angels; south, west, north (partially): portraits of church and painting founders; north: Marina and Paraschiva nuns; Pridvor - calotta: Jesus Emanuel and angels stove; timpane: south - Ecumenical Council and The creation of A The votive portraits are of particular importance: 1. Documentary: Costea Vilara, Enache Vilara, Necula, Mogos, Toma Vilara - are represented with embroidered coffees, wide, over clothes ended with buttons at the neck and sleeves, studded with wide girdles, wide shallots and shoes; the faces are individualized by haircut and mustaches; the jacks have on their heads and wear wide mantle over their neck and sleeve cuffs; the priest Gheorghe is bitten. 2. Stylistically - the representations are scaled and schematically treated, the figures are oversized, graphically treated, strongly outlined; the volumetrics are flattened, the surfaces are treated decoratively; the chromatic range is warm, dominant are the earth colors (ocher, red, brown). The interior painting belongs to a craftsman formed in postbrainish workshops from Vâlcea - proof of the iconographic peculiarities on the south tympanum of the nave and on the altar wall of the iconostasis; the craftsman can be Hristea, appearing in the inscription from proscomidia; the cumbersome, simplified and reduced compositions as a number of characters follow the mines and models that have circulated in the period, and the treatment is of characters The exterior painting, dated to the nineteenth century, due to Ionța zugrav, is stiffer, prevalent graphics; probably this period can be attributed both to the repainting of the secco of the east wall of the porch and to the cleaning and retouching of the painting of the ground.