“Only the Kremlin is higher than Moscow and only God is higher
than the Kremlin” is a popular saying of earlier times. In its
dual function as centre of political and religious power, the Moscow
Kremlin has always been experienced by Russians as the centre of the
empire, giving it its identity and, in that capacity, being perceived
far beyond the frontiers of the state. Admired and feared, the Kremlin
in its eventful 800-year history developed into the symbol of the
Russian state, the Orthodox faith and Russian culture.
To gain a closer insight into the complex mythology
of the Kremlin, to observe it from the perspective of the present,
and to place it in a wider cultural context – that is the purpose
of this exhibition. Against the background of defining events of Russian
history, and closely interlaced with it, visitors are shown the highlights
of the cultural development associated with the Moscow Kremlin from
the twelfth to the nineteenth century, including the construction
of this unique architectural ensemble, the artistic creations of the
famous Kremlin workshops and the development of an independent aesthetics
within Russian Orthodox sacred art.
Towards the end of the twelfth
century, Moscow began its inexorable rise from an insignificant market
town to the centre “of all Rus”, fully aware of its power.
The Kremlin, restructured in the fifteenth and sixteenth centuries
with the help of Italian Renaissance architects, offered the grand
dukes and metropolitans who resided there a worthy background to their
rule.
The coronation of Ivan
IV, the Terrible, as czar in 1547 was an expression of the new self-confidence
of the Moscow state: it now manifested itself as the legitimate heir
of the Byzantine empire - as the “third Rome” - and set
out to realise its dreams to be a great power. In doing so, Moscow
once again increasingly became the focus of international political
and trade interest: precious gifts from the kings of England, Sweden
and Poland, the Turkish sultan and the Persian shah bear witness to
the intensive efforts which were made to woo the lord of the Kremlin.
With a magnificent fireworks display in Moscow at
the turn of the year 1699/1700, Peter I celebrated Russia’s
entry to the new era. The introduction of the Julian calendar was
to herald this ruler’s unprecedented reforms. He took account
of the imperial claims of his empire with his own coronation as czar
in Moscow’s Ascension Cathedral in 1721 (it remained the church
in which the Russian rulers were crowned until the end of the monarchy
in 1917) – the day of his greatest triumph. Another emperor,
Napoleon I, experienced his bitterest hour here in 1812 as he looked
down from the terrace of the abandoned Kremlin on a burning Moscow
emptied of its people.
Approximately 300 highly-prized exhibits
of the highest quality comprising icon and portrait painting, goldwork,
liturgical instruments, manuscripts, books and historical maps, textiles,
weapons and armour (some of them exhibited for the first time) await
the visitor to the exhibition. An elaborate CAD reconstruction aims
to document the main building phases of the Moscow Kremlin (wooden
Kremlin – white Kremlin – red Kremlin) and offer virtual
tours through the historical architectural ensemble.
The exhibition project is
being organised in close cooperation with the Moscow Kremlin State
Museums, whose legendary collections will make up the core of the
presentation. Several supplementary objects from well-known Russian
and European museums are intended to give additional emphasis to the
unique nature of the historical and cultural “location Kremlin”.
The exhibition is accompanied by a comprehensive catalogue with illustrations
of all exhibited objects as well as written contributions by Russian
and German authors. A supporting programme with films, music and literary
events is intended to add to the presentation with additional aspects.
