quality:correction, stylistic:style_transfer
Muscovite period

Rus' was only able to recover from the consequences of the Mongol invasion by the late thirteenth century. The first areas to recover were Novgorod and Pskov, which had been spared the Tatar raids. These city-states, with parliamentarian rule, created an original kind of culture under some influence from their western Baltic neighbours. In the early fourteenth century, leadership in the northeastern lands was transferred from the Principality of Vladimir to Moscow, which, in turn, would fight for leadership against Tver for another century. Moscow was a part of the Vladimir lands and functioned as one of the border fortresses of north-eastern Rus'. In 1324, Metropolitan Peter left Vladimir and settled down in Moscow, thus, transferring the residence of the Russian Orthodox Church (Metropolitan Maximus had moved the residence from Kiev to Vladimir not long before, in 1299). In the late fourteenth century, the principal object of worship of the "old" capital—the icon of the Theotokos of Vladimir —was transferred to Moscow. Vladimir became a model for Muscovy.

Emphasizing the succession, Muscovite princes took good care of Vladimir's sacred places. In the early fifteenth century, Andrei Rublev and Prokhor of Gorodets painted the Assumption (Uspensky) Cathedral. In the mid-1450s, they restored the Cathedral of St. George in Yuriev-Polsky under the supervision of Vasili Dmitriyevich Yermolin. The architecture of Muscovy and its surrounding lands in the fourteenth to early fifteenth centuries, usually referred to as early Muscovite architecture, inherited the technique of whitestone construction and typology of four-pillar cathedrals from Vladimir. Art historians, however, notice that early Muscovite architecture was influenced by the Balkans and European Gothic architecture.

Russian painting of the late fourteenth and early fifteenth centuries is characterized by two major influences, namely those of Byzantine artist Feofan Grek and Russian icon-painter Andrei Rublev. Feofan's style is distinguished by its monochromatic palette and uncommon expressiveness of laconic blots and lines, which send a message of a complex symbolic implication, close to the then widely-spread doctrine of hesychasm, from Byzantium. The soft-coloured icons of Rublev are closer to the late Byzantine painting style of the Balkan countries in the fifteenth century.

The late fourteenth century was marked by one of the most important events in Russian history. In 1380, Dmitry Donskoy and his army dealt the first serious blow to the Golden Horde. Sergii Radonezhsky, the founder and hegumen of Troitse-Sergiyev monastery, played an exceptional role in this victory. The name of Saint Sergii, who became the protector and patron of Muscovy, has an enormous significance in Russian culture. Radonezhsky himself and his followers founded more than two hundred monasteries, which would become the basis for the so-called "monastic colonization" of the little-developed northern lands. The Life of Sergii Radonezhsky was written by one of the outstanding writers of that time, Epifaniy the Wise. Andrei Rublev painted his Trinity, the greatest masterpiece of the Russian Middle Ages, for the cathedral of Sergii's monastery.

Mid-fifteenth-century Muscovy is known for bloody internecine wars for the Moscow seat of the Grand Prince. Ivan III managed to unite the Russian lands around Moscow (at the cost of ravaging Novgorod and Pskov) only by the end of the fifteenth century, and put an end to Russia's subordination to the Golden Horde after the Great standing on the Ugra river of 1480. The river was later poetically dubbed the "Virgin Belt" (Poyas Bogoroditsy). This event marked the birth of the sovereign Russian state, headed by the Grand Prince of Moscow.