Wooden Church with the village of Shelestovo


Many monuments of sacred architecture have been preserved in Transcarpathia –wooden church, belfries, chapels, each of which impresses with wise and perfect engineering-constructive and architectural-artistic methods of their construction. Built by traditional with their techniques, they not only clearly reveal the natural talent of builders and their artistic abilities, but also certify the commonality of the material culture of the Eastern Slavs, since their architectural and structural features they are closely connected with the monumental construction of Kievan Rus.

One of the best examples of temple architecture in Transcarpathia of the past is the Church of the Archangel Michael of the XVII Century. From The Village Of Shelestovo Mukachevo district, which is a decoration of the Museum exhibition Transcarpathian Museum of folk architecture and life in the town Uzhgorod. Folk architects erected this temple to the glory of God, where the soul and faith of our ancestors were tempered. Contemplation of the man-made exquisite harmonious image of this pearl causes admiration and a sense of national pride.


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The Church was built in 1777 in the village of Shelestovo (which is now subordinated to the village Council of Kolchino) Mukachevo district. In 1927 it was moved to the city Mukachevo, to be preserved as a monument of national construction, and in 1974 it was installed on the Museum’s territory. The Church organically fits into the environment of the Museum village. Her slender silhouette is clearly visible on the hill surrounded by trees. Shelestovskaya Church is a model Lemko the temple building of the school. Folk masters managed to create a complete architectural composition of the temple, which combines traditional forms Boiko type (tryohdilnist, the location of log cabins on the same axis, multi-tiered hipped roof) with lemkivskim, the main stylistic difference of which is the movement of the high-rise dominant on the tower-bell tower with a Baroque dome over the Western log house babynets. The genius of the national Builder managed to combine two styles (tent and Baroque) into a single integral architectural composition, which still surprises us with its beauty and perfection.     For the construction of churches always usedthe finest wood – slim, tall. The walls are up log cabin made of thick oak beams (15-40 cm), at the corners of the crowns are connected to the castle “dovetail”. In terms of the Church dvosobna, but trogden: porch (pews) is a nave – altar. Rectangular, with equal-wide log cabins Babinets and Navi and a narrow log altar. The Eastern rite Church is always clearly oriented by the altar to the East. The ceiling of the Eastern log house (altar) is a tent with two halls. The ceiling of the Central log house is twofold: Navi-tent with three halls, the narthex-flat, sheathed with boards. Above the narthex (Babinets) there is a bell tower (its height together with the narthex is 22 m). The tower is two-tiered, square in plan, frame structure. The support pillars are supported on the cross beams of the walls of babynets, connected by a system of struts and beams. A slender quadrangular tower of the belfry upholstered continue. It gradually grows into a gallery with openwork carvings in the lower part. The tower ends with a bathhouse, on which a lantern is placed, topped with a Baroque crown with a forged cross. The roof of the Church has a complex configuration. The rafters are covered with solid timbering, which is stuffed with an oak ploughshare (previously shingles). The canopy encircles the Church around the perimeter and is supported by the release of crowns of the log house, figuratively clipped stairs. Under the General covering of the Church from the southern, Western and Northern facades of the log house (along the Babinets and nave) is an arcade-gallery. Its supporting structures are made of oak profiled posts with struts and horizontal struts. The baths of the altar and Navi are tent – like with halls. Outside, each room of the Church is completed with Baroque domes that grow rapidly from East to West, giving the entire architectural composition an exceptional dynamism. The architect of the Shelestivskoi Church generously used the traditions of folk construction, but in the artistic and architectural solution showed an outstanding individual artistic talent, harmoniously combining a clearly defined and functionally justified vertical division with horizontal lines of creases and Baroque interception. Strong oak single-leaf doors with a wide carved jamb lead to the temple. The well-lit NAV, a place where believers gather during worship and prayers, is contrasted with the semi-dark narthex. The entrance to it is through a cut-out arch made in the wall. The ends of the piers in which the arch is carved are artistically carved and secured by two profiled columns. The beams of the narthex ceiling rest on the wall. Their releases became brackets for the device of choirs. Steps were made to access the Navi choir from the North side. The compositional center of the interior of the Church is a four-tiered iconostasis, decorated with a carved ornament consisting of a vine as a symbol of Christ’s faith, wheat ears and other types of Transcarpathian flora. The iconostasis is the artistic and functional core of the structure, a mandatory part of the interior of temples of the Eastern rite. In the lower tier there are three doorways: the deacon single and Central double Royal doors, is decorated with a carved vine with medallions depicting the evangelists, who proclaimed to the world the word of Christ. Icons of the XVIII century were installed in the iconostasis decorated with vegetable carvings. they were transported to the Museum in 1975 from the village Church.”https://go-to.rest/blog/selo-muzej-kolochava/” >Kolochavy< / a>. Icons are arranged in four tiers. It is likely that they were written by two folk masters. The brush of one belongs to four icons of the first (local) row. Each of them is made on three pine boards glued together and fastened with parallel mortise swords. Icons painted with tempera paints and by the nature of their execution differ from others by the contrast of white, black and red colors. However, thanks to the silver halos and background, the blue Chiton, orange maforium, and white shirt, the color of the icons is significantly softened.    

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