The eventful history of the Crimean Peninsula has defined the multicultural nature of local architecture. Many art historians have focused their attention on the topic of interaction of traditions in Crimean architecture, and it still remains an open question. In light of recent political events and new archaeological findings, research on the mutual influence and interpenetration of architectural techniques and images in the Crimean architecture, move to a new level.
The Crimea has been an important link between North and South, East and West. The peninsula was a crossroad of trade routes and cultural contacts. Close ties between the Crimean peoples and the countries that had various diplomatic interests in the Peninsula have given rise to the monuments interesting from an artistic point of view.
The interaction of cultural traditions is traced in a number of buildings of different historical periods and of different architectural styles. The most remarkable synthesis of cultural phenomena in architecture of the peninsula is observed in the monuments of the medieval Crimea, such as the Church of St. John the Baptist in Kerch, the Palace of the Crimean khans in Bakhchisaray, and fortifications in the region of Kerch, Sudak and Sevastopol, religious and residential buildings of the Crimean cities. The works of the artists, who travelled across the peninsula, feature obvious parallelism. In this respect, the most striking case is the biography of the architect Aleviz Novi, who was detained by the Crimean Khan on the way from Italy to Moscow and made to work in the Palace of Bakhchisarai.
The report focuses on the analysis of the interaction of forms, methods and images in the architectural monuments of Crimea on the example of buildings of different typology.