These projects brought Byzantine artists and artisans to Kiev. Following Byzantine architectural models, they designed and decorated the early Rus churches and taught their techniques and skills to local apprentices. The visiting artisans were most heavily concentrated in Kiev, which became the centre of craft production in Kievan Rus during the eleventh and twelfth centuries. Native and visiting artisans—blacksmiths and stonecutters, carpenters and potters, leather workers, goldsmiths and silversmiths, glassmakers and bone-carvers—produced an array of products, including stone blocks and bricks for the new cathedrals, armour and weapons for the princes’ retinues, fine jewellery for members of the élite, and pottery and buttons for commoners. The adoption of Christianity also stimulated an expansion of Kievan commerce: marble and glazed tiles, icons and silver frames, and numerous other items used in the construction, decoration, and rites of the churches were added to the silks and satins, wines and oils, and other staple imports from Byzantium.
The expansion of Kiev’s commercial and craft activity was accompanied by an increase in its population. By the end of the twelfth century between 36,000 and 50,000 persons—princes, soldiers, clergy, merchants, artisans, unskilled workers, and slaves—resided in the city. Kiev, the political capital of Kievan Rus, had become the ecclesiastical, commercial, and artisanal centre of the realm as well.
Other towns underwent similar, but less dramatic development. Novgorod was also influenced by Christianity and Byzantine culture. Although it had initially been a centre of violent opposition to Christianity, its landscape too was quickly altered by the construction of new, wooden churches and, in the middle of the eleventh century, by its own stone Cathedral of St Sophia. Although Novgorod’s economy continued to be centred on its foreign trade, by the twelfth century some artisans were emulating Byzantine patterns in new crafts, such as enamelling and fresco-painting. Novgorod’s flourishing economy supported a population of 20,000 to 30,000 by the early thirteenth century. Similar developments occurred in Chernigov, where the Church of the Transfiguration of Our Saviour (1035) had heralded the arrival of Christianity. The construction of the stone Church of the Mother of God in Smolensk (1136–7) and of the Cathedral of the Dormition in Vladimir (1158) proclaimed that wealth and Christianity were spreading across the Riurikid realm.
While architectural design and the decorative arts of mosaics, frescos, and icon-painting, all associated with church construction, were the most visible aspects of the Christian cultural transformation, new literary genres, including chronicles, saints’ lives, and sermons, also appeared in Kievan Rus. Although much of the ecclesiastical literature was translated from Greek originals, the clergy of Kievan Rus also began to make their own contributions. The outstanding products of indigenous literature from this era were the Primary Chronicle or ‘Tale of Bygone Years’ (compiled by monks of the Monastery of the Cave which was founded in the mid-eleventh century outside Kiev) and the ‘Sermon on Law and Grace’, composed (
As the Riurikid dynasty and Christian clergy displaced tribal, political, and spiritual leaders, their political and religious–cultural structures transformed the conglomeration of East Slav tribes into a dynamic and flourishing state. The political system balanced a diffusion of administrative and military power against principles of dynastic sovereignty and seniority; it elevated Kiev to a position of centrality within the realm; and it provided an effective means of defending and expanding the realm.
