Pushavinsky desert (Voskresensko-Pushavinsky monastery) - an Orthodox monastery in the Ivanovo region near the city of Puchezh .
At the beginning of the 17th century, the Voskresensko-Pushavinsky Monastery was founded beyond Pusawka, which became an important religious center and contributed to the development of the future city. According to the scribe book of 1676, it is said that “under the Puchetskaya Slobodka, on pasture land, on the Volga River and on the banks of the Pushavka River, the Pushushinskaya Desert Monastery.
The wooden church of the Resurrection of Christ, and in the aisle of Tikhon the Amafun miracle worker, and the other church is the wooden Most Holy Mother of God of Kazan. Both churches are chopped with meals at four corners, the chapters are round, and on the other a cross on the ryadzhas (a small log house) is set. The bell tower is chopped. "
The time of foundation of the monastery is unknown, but it is known that in 1645 the monastery already existed. Until 1932, the church of the former monastery had a gospel printed under Tsar Mikhail Fedorovich and Patriarch Joasaph. Instead of the wooden church of the Resurrection of Christ in 1717, by the care of Job (Metropolitan Job of Novgorod was from the land of Puchezh), Metropolitan of Novgorod, a stone cold Sunday church was built with the aisles of the Monk Tikhon of Amafun and the Monk Zosima and Savvaty, Solovetsky miracle workers. At first the church was under one head, covered with tesa.
According to the will of Job, who died in the patriarchal office, a lot of church utensils were sent to the Pushavinsky monastery, including the shroud embroidered with gold and silk as early as 1441 (Appendix No. 2).
In 1929, she was seized and is now exhibited in the Armory of the Moscow Kremlin. In 1734, instead of the wooden church of the Kazan Mother of God, a warm stone church of the Nativity of the Virgin was built with the side chapel of the Archangel Michael.
Next to the Church of the Resurrection, the flax-spinning factory of Joseph Iosifovich Senkov will later appear. The main person in this church is Father Nikolai Svirsky, and the deacon was the grandfather of the well-known teacher in Puig, Mikhail Smirnitsky, Pavel Kostenevsky. It was he who compiled the first "Brief Description of Puchezh Posad ...".
The Church of the Resurrection on Puszavka (Appendix No. 3) is an outstanding work of church architecture, executed in the forms of Naryshkin Baroque (from Portuguese. Perola barroka - a pearl of a bizarre form), the dominant style in European art of the late 16 - ser. 18 centuries Baroque style was widely used in temple architecture), it was noted by the voluminous composition: a church of the octagon type on a quadrangle (a compositional technique of erecting an octagonal volume on a tetrahedral) was crowned with a five-domed (i.e., the main volume of the church building was completed with five chapters). The facade decor was also original, which included, along with elements characteristic of this style, peculiar details, the most striking of which were the wide stripes of the curb (ornamental frieze (in the second meaning), formed by a series of bricks laid flat or on an edge at an angle to the surface walls) on the edges of the octagon, separated by narrow smooth masonry ribbons.
It was painted only in 1789 by the Yaroslavl masters brothers Dmitry and Peter Ikonnikov, Stefan Zavyazoshnikov, Andrey Ikonnikov, Semyon Zavyaskin, Vasily Sarafannikov, Alexei Zhenikhov and Platon Ikonnikov. This mural is a wonderful example of the Volga monumental painting of the late XVIII century. While the style of classicism flourished in metropolitan art, the province gravitated to the splendor and pathos of Baroque art, adapting it to the traditional methods of writing temple murals. Among the plots, along with the traditional ones, they actively used new ones that came from Europe at the end of the 17th or 18th centuries and had a didactic-moralizing character. Among them is the “Ship of Faith”, which occupied a significant place in the mural system of the Puchezh temple. This plot was popular in popular print engraving. Also, printed sheets often served as a model for icon painters and masters of mural painting.
In the murals of the temple, made in the 1st third of the 18th century, the traditions of ancient Russian painting and Baroque were originally combined. Of particular interest was the huge multi-figure composition “The Last Judgment”, which occupied the entire western wall.
In the 1st half of the 19th century, a magnificent iconostasis was installed (a barrier separating the altar from the main space of the temple and including icons in two tiers or more) in the style of classicism (Appendix No. 4).
The monastery, called the Pushavin Desert, was small, it was not independent, but, most likely, was a branch of a larger one. In 16 cells of the Pushavinsky monastery there were only 12 elders. He was fenced with a fence 90 to 68 meters long. In the fence there were some “holy” gates with 11 icons, and the rest were “traveling”. Over time, the wooden fence was replaced by a stone one, and cells with tented roofs were put in the corners.
In 1765, the monastery was abolished, and the churches became the center of the Zarechny parish. The stone bell tower was built in 1802. It was in the cell of the Church of the Resurrection of Jesus Christ from 1789 to 1839 that the mysterious nun Arkady lived, who called herself Barbara Mironovna Nazarieva, where she was buried on the right side of the church.