Boris Konstantinovich Petrov, a painter, a member of the Artists’ Union of the USSR and the Petrovsky Academy of Sciences and Arts, was born in the Belogorsky district of the Crimean region, and moved to Veliky Novgorod after graduating from the Kharkov Art Institute. In 1969–1990, Boris Konstantinovich created mainly oil paintings dedicated to the Great Patriotic War; in 2000, he became interested in tempera painting, consonant with the style of Novgorod frescoes.
The artist sought to depict everything majestic, full of dignity and joy of being; he created monumental images. Petrov devoted a significant part of his artistic life to teaching composition and painting.
The artist’s paintings echo his other hobby — poetry. The lines “I breathe the marvelous air, I am proud to live here, I do not paint pictures — I glorify Novgorod…” can be considered his artistic credo.
This picture depicts the bell tower of the Desyatinny Monastery, which is located in the Sophia Side of Veliky Novgorod, in the People’s (Potter’s) End.
The bell tower gate serves as the entrance to the territory of the now defunct Desyatinny Convent. Once there were eight monasteries there, in the vicinity of the Novgorod Kremlin, but at the place where the monastery “on the Desyatina” (the monastery was founded on an estate previously owned by the princes of Novgorod called Desyatina) stood, the lands, layout and many buildings have been best preserved.
The bell tower of the monastery was rebuilt several times.
The wooden octagonal building of 1788 stood for only 14 years. It featured a corner joint, in which the ends of the logs did not protrude beyond the corners.
In 1809, under the abbess and builder Eupraxia (1798–1812), a new stone bell tower was laid, which crowned the monastery complex until the early 20th century. The successor of Eupraxia, Abbess Maximilla, also known as a builder (1813–1821), continued the work.
In 1814, monastic cells were added to the bell tower on both sides; their walls served as a fence at the same time. In 1820, the bell tower was surrounded by a stone fence decorated with small towers at the corners.
This bell tower stood longer, but by the early 20th century it was dilapidated and needed to be replaced.
In 1902–1903, through the efforts of the last abbess of the convent, Lyudmila, a new bell tower in stone was erected at the expense of benefactors. It had a chapel adjacent to it (from the north) and a building where prosphora were made (from the south). It became the last significant object that completed the monastery ensemble. The style of the building echoes stylized features of the architecture of Rus — kokoshniks (semicircular exterior decorative elements) and keel arches.
The artist sought to depict everything majestic, full of dignity and joy of being; he created monumental images. Petrov devoted a significant part of his artistic life to teaching composition and painting.
The artist’s paintings echo his other hobby — poetry. The lines “I breathe the marvelous air, I am proud to live here, I do not paint pictures — I glorify Novgorod…” can be considered his artistic credo.
This picture depicts the bell tower of the Desyatinny Monastery, which is located in the Sophia Side of Veliky Novgorod, in the People’s (Potter’s) End.
The bell tower gate serves as the entrance to the territory of the now defunct Desyatinny Convent. Once there were eight monasteries there, in the vicinity of the Novgorod Kremlin, but at the place where the monastery “on the Desyatina” (the monastery was founded on an estate previously owned by the princes of Novgorod called Desyatina) stood, the lands, layout and many buildings have been best preserved.
The bell tower of the monastery was rebuilt several times.
The wooden octagonal building of 1788 stood for only 14 years. It featured a corner joint, in which the ends of the logs did not protrude beyond the corners.
In 1809, under the abbess and builder Eupraxia (1798–1812), a new stone bell tower was laid, which crowned the monastery complex until the early 20th century. The successor of Eupraxia, Abbess Maximilla, also known as a builder (1813–1821), continued the work.
In 1814, monastic cells were added to the bell tower on both sides; their walls served as a fence at the same time. In 1820, the bell tower was surrounded by a stone fence decorated with small towers at the corners.
This bell tower stood longer, but by the early 20th century it was dilapidated and needed to be replaced.
In 1902–1903, through the efforts of the last abbess of the convent, Lyudmila, a new bell tower in stone was erected at the expense of benefactors. It had a chapel adjacent to it (from the north) and a building where prosphora were made (from the south). It became the last significant object that completed the monastery ensemble. The style of the building echoes stylized features of the architecture of Rus — kokoshniks (semicircular exterior decorative elements) and keel arches.
