Icons of the era of Kievan Rus. iconography

Having adopted Christianity in 988, the ancient Russian state became involved in a powerful stream of Byzantine culture. The process of comprehension and creative processing of the heritage of the Eastern Roman Empire, combined with their own cultural traditions, subsequently gave rise to the original and original ancient Russian art. It is closely connected with the historical conditions in which it was formed, reflecting the pressing problems and aspirations of medieval man. The form, themes, and content of ancient Russian art were closely connected with religion and were under the strictest control of the church.

In particular, in painting there were rules and techniques that every artist had to follow - the canons. Types of images, compositional schemes, symbolism were approved and illuminated by the church.

The worldview and worldview of a medieval person differed from modern ones and had certain features, without knowing which it is impossible to fully perceive the works of ancient Russian art.

The oblivion of the language of the icon occurred partly under the influence of Western art and is directly related to the secularization of society. Icon painting is ascetic, severe and completely illusory. Unlike secular painting, it has always gravitated toward fundamental otherness, the depiction of a different transformed unreal world.

A sign, a symbol, a parable is a way of expressing the truth, well known to us from the Bible. The language of religious symbolism is capable of conveying complex and deep concepts of spiritual reality. Christ, the apostles and prophets resorted to the language of parables in their sermons. Vine, lost drachma, withered fig tree, etc. - images that have become meaningful symbols in Christian culture.

The first Christians did not know icons in our understanding of the word, but the developed imagery of the Old and New Testaments already carried the rudiments of iconology.

When determining the artistic features of an icon, it must be remembered that for a person of the Middle Ages, an icon is not a picture, but an object of worship. Its purpose is a reminder of the image of God, help in order to enter the psychological state necessary for prayer.

For a believer, there has never been a question whether he likes an icon or not, how and how artistically it is made. Its content was important to him. At that time, many could not read, but the language of symbols was instilled in any believer from childhood. The symbolism of color, gestures, depicted objects is the language of the icon.

One of the church fathers, Nilus of Sinai, wrote that icons are kept in churches “for the purpose of instructing those who do not know and cannot read the Holy Scriptures in the faith.”

The basis for the emergence of Russian painting was the samples of Byzantine art. It was from there that the canons came to Russia.

The canon did not at all fetter the thought of the medieval painter, but it disciplined him, forcing him to pay careful attention to details.

Given the educational role of icon painting, a unified system of signs was very important, helping viewers navigate the plot and the inner meaning of the work.

The philosophical meaning of the canon is that the “spiritual world” is immaterial and invisible, and therefore inaccessible to ordinary perception. It can only be represented with symbols. The icon painter did not strive for external formal realism, on the contrary, he strongly emphasizes the difference between the depicted heavenly world with the saints who have joined it and the earthly world in which the viewer lives. To do this, the proportions are deliberately distorted, the perspective is violated.

The use of a reverse perspective or a uniform impenetrable background, as it were, brought the viewer closer to the depicted image, the space of the icon seemed to move towards it along with the saints placed on it.

The face (face) in the icon is the most important thing. In the practice of icon painting, the background, landscape, architecture, clothes were first painted, they could also be painted by a master of the second hand - an assistant, and only then the main master began to paint the face. Compliance with this order of work was important, because the icon, like the whole universe, is hierarchical. The proportions of the face were deliberately distorted. It was believed that the eyes are the mirror of the soul, which is why the eyes on the icons are so large and penetrating. Let us recall the expressive eyes of pre-Mongolian icons (for example, Novgorod the Savior Not Made by Hands, 12th century). The mouth, on the contrary, symbolized sensuality, so the lips were drawn disproportionately small. Starting from the Rublevsky time at the beginning of the 15th century. the eyes no longer wrote so exaggeratedly large, nevertheless, they are always given great attention. On Rublev's icon "The Savior of Zvenigorod" the deep and penetrating look of the Savior strikes us first of all. Theophanes the Greek depicted some saints with eyes closed or even with empty eye sockets - in this way the artist tried to convey the idea that their gaze is directed not at the outside world, but inside, at the contemplation of divine truth and inner prayer.

The figures of the depicted biblical characters were painted less densely, with few layers, deliberately stretched out, which created a visual effect of their lightness, overcoming the physicality and volume of their bodies. They seem to soar in space above the earth, which is an expression of their spirituality, their transformed state.

The actual image of a person occupies the main space of the icon. Everything else - chambers, mountains, trees play a secondary role, their iconic nature is brought to the maximum conventionality. However, they also carry a certain semantic load (mountain - symbolizes a person's path to God, oak - a symbol of eternal life, a bowl and a vine - symbols of the atoning sacrifice of Christ, a dove - a symbol of the Holy Spirit, etc.). The older the icon, the less secondary elements it has.

For the perception of icon painting by a modern viewer, it is important to remember that an icon is a very complex work in terms of its internal organization, artistic language, no less complex than, for example, a Renaissance painting. However, the icon painter thought in completely different categories, followed a different aesthetics.

Since the spread of Christianity in the West and in the East took place under different historical conditions, church art also developed in different ways. AT Western Europe Christianity was preached among the barbarians who captured the Western Roman Empire. For them, the icon had to show and tell the gospel story as truthfully as possible, hence realism, the gradual transformation of the icon into a picture with a religious plot. The Eastern Roman Empire - Byzantium, on the contrary, preserved the traditions ancient culture and developed them, here the icon remained, as it were, a symbolic text and served not to excite the imagination, but for internal understanding and contemplation. The sign and the symbol are the alphabet of the medieval viewer.

Curiously, in the nineteenth century. icons were considered to be primitive art due to the fact that realism had a strong influence on the aesthetic perception of painting. Old Russian icon painters were accused of ignorance of anatomy and methods of constructing direct perspective. Later, at the beginning of the 20th century, many avant-garde artists, K. Petrov-Vodkin, V. Kadinsky and others, carefully studied and themselves tried to adopt the expressive means of the ancient masters. Henri Matisse recognized the significant influence of the Russian icon on his work.

Through modernism and the avant-garde, not only Russia, but also the West are returning to the iconic nature of art, using local colors, silhouettes and sketchiness as means of expression.

The icon-painting canon is a separate topic that requires special study. Here are some basic rules:

• Proportions. The width of ancient icons corresponds to the height 3:4 or 4:5, regardless of the size of the icon board.
• Figure sizes. The height of the face is equal to 0.1 of the height of his body (according to Byzantine rules, a person's height is equal to 9 measures of the head). The distance between the pupils was equal to the size of the nose.
• Lines. The icon should not have torn lines, they are either closed, or they come from one point, or they are connected to another line. The lines of the face are thin at the beginning and end, and thickened in the middle. The lines of architecture are everywhere of equal thickness.
• The use of reverse perspective - consisting only of near and medium plans, the distant plan was limited to an impenetrable background - gold, red, green or blue. As the distance from the viewer, the objects do not decrease, but increase.

Special rules stipulated the application of paints, the use of certain colors, and so on.

All painters resorted to the symbolism of colors, each color carried its own semantic load.

• Gold is a color that symbolizes the radiance of Divine glory, in which the saints dwell. The golden background of the icon, the halos of saints, the golden radiance around the figure of Christ, the golden clothes of the Savior and the Virgin - all this serves as an expression of holiness and eternal values ​​belonging to the world.
• Yellow, or ocher, is the color closest in spectrum to gold, often just a substitute for it, and is also the color of the highest power of angels.
  
• White is a color that symbolizes purity and purity, participation in the divine world. The clothes of Christ are written in white, for example, in the composition “Transfiguration”, as well as the clothes of the righteous on the icons depicting the Last Judgment.
• Black is a color that in some cases symbolizes hell, the maximum distance from God, in others it is a sign of sadness and humility.
• Blue - the color of the Virgin, also meant purity and righteousness.
• Blue - the color of greatness, symbolized the divine, heavenly, the incomprehensibility of mystery and the depth of revelation.
• Red - the royal color, a symbol of power and might (the cloak of Michael the Archangel - the leader of the heavenly army and St. George - the winner of the snake); in other cases, it could be a symbol of redemptive blood, martyrdom.
• Green - symbolized eternal life, eternal flowering, it is also the color of the Holy Spirit.

The medieval painter did not know the palette, did not mix colors during work, the colors were drawn up in advance and were mandatory. The recipes of paints of different schools did not match, but, as a rule, they were rubbed on egg yolk, they were very strong and bright.

Gesticulation also carried a symbolic load. The gesture in the icon conveys a certain spiritual impulse, carries certain spiritual information:

• hand pressed to the chest - heartfelt empathy;
• hand raised up - a call to repentance;
• a hand stretched forward with an open palm is a sign of obedience and humility;
• two hands raised up - a prayer for peace;
• hands raised forward - a prayer for help, a gesture of request;
• hands pressed to the cheeks - a sign of sadness, grief.

The objects in the hands of the depicted saint were also of great importance, as signs of his service. So, the Apostle Paul was usually depicted with a book in his hands - this is the Gospel, less often with a sword, symbolizing the Word of God. Peter usually has the keys in his hands - these are the keys to the kingdom of God. The martyrs are depicted with a cross in their hands or a palm branch - symbols of belonging to the Kingdom of Heaven, the prophets usually hold the scrolls of their prophecies in their hands.

And this is far from exhaustive material on the symbolism of color and gestures. It is no coincidence that icons were called "theology in colors."

“In the lines and colors of the icon, we have predominantly semantic beauty,” wrote the philosopher E. Trubetskoy in 1916. In his famous work “Speculation in Colors”, he deeply developed this idea, arguing that the ancient Russian masters reflected on the meaning of life, carried answers to eternal questions being "not in words, but in colors and images."

The discovery of ancient Russian painting at the beginning of the 20th century, the recognition of its artistic significance, revived the understanding of its true spiritual meaning. So, the philosopher and priest Sergei Bulgakov, a contemporary of Trubetskoy, in his autobiography compares European and Russian painting. When Bulgakov first saw the "Sistine Madonna" by Raphael, the picture made a strong impression on him. However, later, when he became familiar with ancient Russian art, he suddenly saw the main thing that the “Sistine Madonna” lacks: although she depicts the Mother of God, one cannot pray before her. If a secular artist, when painting a picture, strove for maximum artistic expressiveness, he is, first of all, the author, then the monk-icon painter did not think about aesthetics - he thought about the prototype, he believed that God was leading his hand.

The main guide for the creation of the icon to the painters was the ancient originals, brought back from Byzantium. Canonical painting for many centuries fit into a strictly defined framework, allowing only the repetition of icon-painting originals.

Images were strictly regulated in space, poses, a certain plot outline was observed. To help the painters, there were special vaults with drawings of the images of Orthodox saints and their verbal descriptions. At the end of the XVII century. there was even a consolidated edition of the originals, which collected most of the stories accumulated over the centuries, as well as reference materials, lists of terms and subjects.

The main characters of the icons are the Mother of God, Christ, John the Baptist, the apostles, forefathers, prophets, holy associates and great martyrs. Images could be:

• main (only face),
• shoulder (on the shoulders),
• waist (to the waist),
• in full height.

Saints were often painted surrounded by separate small compositions on the themes of their lives - the so-called hagiographic hallmarks. Such icons told about the Christian feat of the character.

A separate group consisted of icons dedicated to gospel events, which formed the basis of the main church holidays, as well as icons painted on the basis of Old Testament stories.

Consider the main iconography of the Virgin and Christ - the most important and revered images in Christianity.

Images of the Mother of God.

Hodegetria (Guide) This is a half-length image of the Mother of God with the Christ Child in her arms. The right hand of Christ is in a blessing gesture, in his left he has a scroll - a sign of the Holy Teaching. The Mother of God holds her son with one hand, and points at him with the other.

Eleusa (Affection) this is a half-length image of the Mother of God with the baby in her arms, bowed to each other. The Mother of God hugs her son, he presses against her cheek.

Oranta (Prayer) This is a full-length image of the Mother of God with her hands raised to the sky. When a round medallion with the baby Christ is depicted on the chest of the Orans, this type is called the Great Panagia (All Saints) in iconography.

Sign or Incarnation This is a half-length image of the Mother of God with her hands raised in prayer. As in the Great Panagia, on the chest of the Mother of God there is a disk with the image of Christ, symbolizing the incarnation of the God-man.

In total, there were about 200 iconographic types of the image of the Mother of God, the names of which are usually associated with the name of the area where they were especially revered or where they first appeared: Vladimirskaya, Kazanskaya, Smolenskaya, Iverskaya, etc. The love and veneration of the Mother of God among the people has inextricably merged with her icons, some of them are recognized as miraculous and there are holidays in their honor.

Among the most famous icons of the Mother of God is Vladimirskaya (belongs to the “Tenderness” type), scientists date it to the 12th century, according to chronicle evidence, it was brought from Constantinople. In the future, Our Lady of Vladimir was repeatedly copied, there were many lists from her of the XIV-XV centuries. For example, the famous repetition of the "Our Lady of Vladimir" was created at the beginning of the 15th century. for the Assumption Cathedral in the city of Vladimir, to replace the ancient original, transported to Moscow.

The famous Mother of God of the Don also belongs to the “Tenderness” type, presumably written by Theophanes the Greek himself and which became the main shrine founded in the 16th century. Moscow Donskoy Monastery.

One of the best icons of the Hodegetria type is considered to be the Our Lady of Smolensk, created in 1482 by the great artist Dionysius. It is called Smolenskaya because, according to chronicle legend, the oldest of the Hodegetria copies brought to Russia was kept in Smolensk, and it was from it that all subsequent icons were made.

The main and central image of ancient Russian painting is the image of Jesus Christ, the Savior, as he was called in Russia.

Image of Christ.

Pantocrator (Almighty) This is an image of Christ half-length or full-length. His right hand is raised in a blessing gesture, in his left he holds the Gospel - a sign of the teaching he brought into the world.

Savior on the throne this is an image of Christ in the clothes of the Byzantine emperor sitting on a throne (throne). With his right hand raised in front of his chest, he blesses, and with his left he touches the opened Gospel.

In addition to the usual composition of The Savior on the Throne, there were also images in ancient Russian art where the figure of Christ seated on the throne was surrounded by various symbolic signs indicating the fullness of his power and the judgment he was making on the world. These images made up a separate set and received the name Saved in power.

Spas Bishop the Great the image of Christ in a bishop's robe, revealing him in the form of a New Testament high priest.

Savior Not Made by Hands this is one of the oldest images of Christ, where only the face of the Savior is depicted, imprinted on the fabric.

Savior Not Made by Hands in the crown of thorns one of the varieties of this image, although rare, this type of image appears in Russian icon painting only in the 17th century.

Relatively rare is the image of Christ in infancy, calledEmmanuel ("God with us").Even less common is the image of the infant Christ with a star-shaped halo, personifying Christ before the incarnation (i.e., before birth), or Christ in the form of an archangel with wings. These icons are calledAngel of the Great Council .

The most numerous were icons that reproduced miraculous image. The oldest surviving one is the Novgorod Savior Not Made by Hands, created in the 12th century. and owned today by the State Tretyakov Gallery. No less famous is the "Savior Not Made by Hands" from the Assumption Cathedral of the Moscow Kremlin, dating from the 15th century.

There were also numerous images of the Savior of the Almighty. The famous "Zvenigorod Spas" by Andrei Rublev from this series is one of the greatest works of ancient Russian painting, one of the author's best creations.

In Russia, icon painting was considered the most important, state affair. Chronicles along with events state significance celebrated the construction of new temples and the creation of icons.

There was ancient tradition- to allow only monks to icon painting, moreover, those who have not stained themselves with sinful deeds. The Stoglavy Cathedral of 1551, among other issues, paid attention to icon painting. The Council decided that the icon painter should be a man of a righteous, pure life, and his craft is the service of God and the church. So, the greatest icon painters of ancient Russia, Andrei Rublev and Daniil Cherny, according to the testimony of the Tale of the Holy Elders, were righteous and “excelled everyone in virtues,” for which they were honored with their unusual talents.

For many centuries icons in Russia were surrounded by a halo of great moral authority. Work on the icon began with fervent prayer, not only of the performer-monk, but of the entire monastery. It was considered a great sin to throw away or burn icons. If the image darkened or faded (this happened often: in the old days it was customary to cover the image on top with drying oil, because of which they darkened over time), it was “recorded” with a new painting. There was also a custom for spoiled and unusable icons to be floated down the river face down after a preliminary prayer service. Some ancient icons were especially revered and considered miraculous, i.e. able to work miracles. The history of such miraculous icons included many legends about miraculous salvations and healings brought to believers.

So, the main shrine of Novgorod - the icon of Our Lady of the Sign from the church of Hagia Sophia allegedly saved the city from the siege. The chronicles tell how, in 1169, Saint John of Novgorod, having learned that the Suzdal people were going to war against Novgorod, began to pray fervently, and suddenly heard a voice: he was ordered, when the siege began, to go out to the Suzdal people with the icon of the Mother of God of the Sign. They did so, after which the Suzdalians were defeated.

The famous icon of Our Lady of Vladimir is credited with saving Moscow from Tamerlane in 1395, when he suddenly interrupts his campaign against the city and returns to the steppe. Muscovites explained this event by the intercession of the Mother of God, who allegedly appeared to Tamerlane in a dream and ordered not to touch the city. The icon "Our Lady of the Don", according to legend, was with Dmitry Donskoy on the Kulikovo field in 1380 and helped to defeat the Tatars.

According to legend, the Kazan Icon of the Mother of God helped Minin and Pozharsky liberate Moscow from the Poles in 1612.

Faith in the miraculous power of icons is still strong today, and the modern church also preserves the traditions of their veneration. The icon as a spiritual phenomenon is increasingly attracting attention, not only in the Orthodox, but also in the Catholic world. AT recent times all more Christians evaluates the icon as a common Christian spiritual heritage. Today, it is the ancient icon that is perceived as a revelation necessary for modern man.

Iconography is of no less interest to historians and art historians. Today, no one has to prove the aesthetic value of the icon, however, in order to understand its true spiritual value, to comprehend the artistic language of the author, to unravel its deep meaning, it is necessary to continue the study of this most interesting layer of ancient Russian art.

cand. ist. Sciences, art. teacher
Department of Social Sciences and
regional studies of Russia
State Institute
Russian language them. A.S. Pushkin
Kuprina I.V.

c. 33¦ Due to the repeated sacking of Kyiv and Chernigov, early South Russian icons have not come down to us. In a much better position was Novgorod located in the north, which remained aloof from the Tatar invasion. Therefore, it is no coincidence that the most ancient Russian icons come from Novgorod.

Throughout the 11th century, the Novgorodians were not "free in the princes." Both princes and posadniks were appointed from Kyiv. Cultural ties with this city were very lively, and, probably, many icons were brought from the south to Novgorod, where they served as the subject of study and imitation for local masters. Thus, the foundations were laid for the Novgorod school of icon painting, from which a number of first-class works emerged.

The earliest Russian easel painting known to us is the icon of Peter and Paul, executed around the middle of the 11th century (Novgorod Historical and Architectural Museum-Reserve) (ill. 1). The apostles are presented full-length, in the center at the top is a half-figure of Christ. The heads of the apostles are given not in a strict frontal position, but in a three-quarter turn. Paul is holding a book, in Peter's left hand is a long shaft of a cross, a scroll and three keys. The poor state of preservation makes it impossible to draw conclusions about the style and author of this monumental icon, undoubtedly inspired by fresco images. Its large size speaks rather for the fact that the icon was painted directly in Novgorod.

In the second half of the 11th and at the beginning of the 12th century, the princes did not erect a single building in Novgorod. Only during the reign of the Greek-minded Mstislav Vladimirovich (1088–1094, 1096–1117) did grand ducal construction resume and the painting of the church of St. Sophia began. It is possible that at that time a painting workshop was formed at the princely court, which made frescoes, icons and miniatures. The painting of the dome of St. Sophia (1108) and the miniatures of the Mstislav Gospel (1103–1117) are associated with this workshop. This workshop was probably the Byzantine hearth that in many respects paved the way for the brilliant flourishing of the Novgorod icon painting of the 12th century 54 .

54 Lazarev V. N. About the painting of Sophia of Novgorod. - In the book: Old Russian art. Art culture Novgorod, s. 58 [see also in the book: Lazarev V. N. Byzantine and ancient Russian art. Articles and materials, p. 169].

Among the Novgorod icons of this time, the most ancient are two images of George: one full-length (Tretyakov Gallery), the other half-figure (Assumption Cathedral in the Moscow Kremlin). The mighty figure of standing George (ill. 2) clearly stood out against the now lost gold background. In his right hand, George holds a spear, with his left he squeezed a sword hanging at his hip, a round shield can be seen from behind his shoulder. Numerous losses of the original painting, made up by later chinks, make it impossible to accurately restore the type of face and details of military attire. But the silhouette of the figure and its strong, rather squat proportions remained unchanged. The majestic figure of George embodies strength and military prowess, in many ways echoing the heroic images of ancient Russian military stories. c. 33
c. 34¦

Probably, the half-figure icon of St. George (ill. 3), possibly delivered to Moscow by order of Ivan the Terrible, when he removed most of his shrines from the disgraced city. George holds a spear in his right hand, and a sword in his left, which he parades like a precious relic. It is known that the sword played a very special role among the Slavs. It was considered as a kind of military emblem of Russia and as a symbol of power, in particular princely power. Apparently, the icon was commissioned by a prince unknown to us, who wanted to see in the temple an image of the saint of the same name, who was his patron.

The figure of George fills almost the entire field of the icon, so that the hands touch the frame closely. This indirectly enhances the power of the figure. It seems that she is too cramped within the field allotted to her. The saint appears in the form of a brave and steadfast warrior, the patron saint of military people. His face is especially expressive, combining the freshness of youth with masculine strength. The correct oval of the face is framed by a thick cap of brown hair. Large, staring eyes, dark, beautifully arched eyebrows, a straight nose, luscious lips - all these features are interpreted by the artist in such a way that they give the face a purely architectural structure. Carnation has a very light whitish hue, turning into a gentle blush on the cheeks. From the neighborhood with thick greenish-olive shadows and an energetic red nose line, the light skin tone acquires a special transparency and luminosity.

A fairly clear stylistic group is made up of three magnificent icons of the 12th century, possibly from the same workshop. The first of them is the so-called Ustyug Annunciation (ill. 4), originating from the St. George's Cathedral of the St. George's Monastery near Novgorod (now stored in the Tretyakov Gallery). The scene of the Annunciation is given here in the rarest iconographic version - with an infant entering the bosom of the Mother of God. In the upper part of the icon, the Ancient of Days is depicted in a semicircle, from whose hand a direct beam goes to the bosom of the Virgin Mary. Thus, the artist showed, with the utmost clarity for his time, that indeed the incarnation of Jesus Christ took place by the will of the Almighty at the moment of the Annunciation. This iconographic type, the earliest example of which we find on the Moscow icon, apparently took shape in the post-iconoclastic period, not without the influence of the festive liturgy on the day of the Annunciation (Synaxarion of March 25) and the hymn of the Theotokos (Oktoikh). It is very typical for the concrete thinking of Novgorodians that the artist or the customer chose this particular iconographic variant. In this regard, one story involuntarily comes to mind, given in the addition to the Sofia I chronicle under the year 1347 55 . It tells about the trip of the Novgorodians to the earthly paradise, which they wanted to see with their own eyes at all costs, in other words, they wanted to make sure, as on the icon, of the concreteness of what was transcendent by nature.

55 Full coll. Russian chronicles, vol. VI. Sofia chronicles. SPb., 1853, p. 87–89.

In the monumental figures of the archangel Gabriel and Mary, one can feel the author's thorough knowledge of the icon of contemporary examples of Byzantine painting. Although the figures are somewhat overweight, in what way they differ from the images on purely Greek icons, they are characterized by strict proportionality. The motif of the movement of the archangel is convincingly revealed, his cloak lies in graceful folds, and the folds of the chiton are no less elegant. With the same subtle understanding of the structure of the drapery, the maforium of the Mother of God is crafted. Facial modeling is particularly soft. A dark, greenish-olive base is laid only in the shadows. Further modeling of the relief is achieved by gradually applying dark yellow ocher with the addition of more and more white in each subsequent layer, but with a sequence so sustained that the transitions from layer to layer remain almost c. 34
c. 35¦ invisible. Red blush is placed over the ocher, gently shading the forehead, neck and nose line. The coloring of the "Ustyug Annunciation" is generally known for its gloominess, which is generally typical for icons of the pre-Mongol period. The colors of the upper image are the brightest, where we see the Ancient of Days sitting on the cherubs and glorified by the seraphim. Here, cinnabar colors are boldly combined with blue, blue, green and white. This image, accompanied by Slavic inscriptions, somewhat falls out of the sharpness of its colors from the general color scheme of the icon. Here the individual taste of the Novgorod artist, who achieves a special sonority of color, already makes itself felt. Apparently, in this part of the icon, he was less bound by the canonical model, which is why he resorted not only to a more flowery scale, but also to a freer manner of painting. Such a parallel coexistence of two different pictorial techniques in the same icon will also be found in other early monuments of Novgorod easel painting.

The style of The Savior Not Made by Hands is similar to the Ustyug Annunciation (Tretyakov Gallery) (ill. 5). This icon, as a two-sided one, was to be kept in a separate icon case. On the back is the "Glorification of the Cross", executed in a completely different manner than the image on front side.

The face of Christ with hair cut with thin golden threads is painted in a soft “fused” manner, with the help of subtle transitions from light to shadow. In the selection of colors, the artist is extremely restrained: his stingy range of colors is based on a combination of olive and yellow flowers. The main emphasis is placed by the icon painter on big eyes with great expressiveness. Perfectly mastering the line, he allowed himself, in order to achieve greater expression, to give an asymmetric construction of the face, which is most pronounced in the differently curved eyebrows. The solemn “iconicity” of this face clearly indicates that the artist who painted the Savior had good Byzantine examples before his eyes or was trained by Byzantine masters.

The image on the reverse side of the icon is interpreted differently (ill. 5). In a broad, bold, free manner of writing, in sharp and strong juxtapositions of light and shadow, in a multi-color palette with its lemon yellow, cinnabar, pink, light blue and white colors, the hand of a Novgorod master, a contemporary of those artists who painted in 1199 Nereditsu.

The same stylistic group includes the magnificent icon of an Angel (ill. 6), probably belonging to the Deesis rank. As already noted, such ranks were usually placed on the architrave of the altar barrier. The construction of the relief of the Angel's face and the cutting of his hair with the help of gold threads is very close to the icons of the Savior Not Made by Hands and the Ustyug Annunciation. But the icon of the Russian Museum surpasses these things in the subtlety of execution and some special nobility of design. It is difficult to find in all ancient Russian art a more spiritual face, in which sensual charm would be so peculiarly combined with deep sadness. This is the work of an outstanding master who organically mastered all the subtleties of Byzantine writing.

Specifying the date of execution of the group of icons considered here is associated with great difficulties. It is possible that the "Ustyug Annunciation" was written shortly after the consecration of St. George's Cathedral (1130 or 1140), but it is impossible to prove this, since it was not the main temple image (such was the icon of St. George in growth) and could be a later contribution. The manner of writing the composition "Glorification of the Cross" on the back of the "Savior Not Made by Hands" indicates the end of the 12th century. However, we do not guarantee that c. 35
c. 36¦ the image on the back of the icon is not made after the image on the front side. Rather shaky stylistic analogies do not help either (for example, the similarity of the Angel's head with the mosaic of the cathedral in Montreal). It would be very tempting to connect this whole group of Byzantine icons with the workshop of the mentioned Novgorod I Chronicle under the year 1197 "Grtsin Petrovits", however, even here there remains a lot of unclear and controversial (for example, M. K. Karger and E. S. Smirnova 56 tend to consider the word "Grtsin" as a personal name, and not as denoting nationality). Due to the inconsistency of the above facts, it would be more careful to date the group of icons that interests us within the range from the 30s to the 90s of the XII century.

56 Smirnova E. S. Rec. on the book V. N. Lazareva "Frescoes of Staraya Ladoga" (M., 1960). - "Byzantine Timepiece", 24. M., 1964, p. 223–224 (with reference to M.C. Karger's 1958 report). This hypothesis remains very doubtful for me. It is unlikely that the chronicler called the craftsman (and the artists were craftsmen by their rank!) by patronymic. Patronymic names on "ich" were usually called persons belonging to the highest social circles. Therefore, I am inclined to believe that the chronicle refers to the visiting Greek Petrovich, who probably enjoyed great fame.

Even if we allow the widespread importation of Greek icons to Novgorod, this so strongly Byzantinizing art still needs to be explained. Here it would be appropriate to recall those lively cultural ties that Novgorod maintained with Constantinople. The Greek-minded Bishop Nifont gravitated towards Constantinople. In 1186, the cousin of the Byzantine emperor Manuel Komnenos, Alexei Komnenos, came to Novgorod. In 1193 and 1229 there were influential Greekophile parties in Novgorod that wanted to have a Greek archbishop. Often, Novgorodians made pilgrimages to Jerusalem, Constantinople, Mount Athos. Finally, at the turn of the 12th-13th centuries, Dobrynya Yadreykovich, the future Archbishop Anthony, visited Constantinople. All these lively relations were real channels for the penetration of Byzantine influences into Novgorod. It should also be borne in mind that the Novgorod princes maintained cultural ties with Kyiv in the 12th century, and the latter continued to be a hotbed of Byzantine forms for a long time. The art of Byzantium first of all attracted the attention of the princely and archiepiscopal court. However, the broader circles of Novgorod society could not help but succumb to his charm, his artistic language was so attractive.

This Byzantine trend did not completely disappear even in the 13th century, although it largely lost its purity. Here the local stream made itself felt, under the influence of which a freer treatment of Byzantine forms began. The monumental “Assumption” should be dated to the early XIII century. (ill. 7) originating from the Tithes Monastery in Novgorod. The Assumption is given in a complex iconographic rendering: at the top, the Archangel Michael elevates the soul of the Mother of God to paradise, below are four soaring angels, on the sides are depicted the apostles flying on clouds to their deathbed. All other elements of the composition are more traditional. The masters who worked on this large icon combined large, monumental forms with a purely miniature subtlety of writing. Compared to Byzantine easel paintings, where the figures of the apostles form free pictorial groups, in our icon the composition is strictly subordinated to the plane. The apostles and saints stand in two rows, the figures have lost all volume. The most "Greek" part of the icon is the right group, with faces of a mature "Comnenos" type, the faces of the left group, in which the Greek type is not so clearly expressed, are treated softer and more impersonally. Especially successful is the head of the apostle, leaning over the body of Mary and carefully peering into her face. A somewhat rigid composition, thick, dense colors, not very finely harmonized, the emphasized flatness of the composition and individual figures, the unstable position of the legs - all this indicates the work of local Novgorod masters, in whose hands Byzantine forms began to undergo more significant changes than those that we observed in icons of the 12th century. c. 36
c. 37¦

Known points of contact with the "Assumption", especially with its right side, are found by the recently opened icon "Our Lady of Tenderness" from the Assumption Cathedral of the Moscow Kremlin (ill. 8), reproducing the Byzantine prototype. The icon contains unusual details such as the indefinite position of the fingers of Christ's left hand, a short dark scarf thrown over Mary's head, reaching only to her shoulders, and the freely fluttering end of the baby's cloak. The Byzantine master would not allow himself such deviations from the canon, while the Novgorod artist, who quite accurately followed the strict Byzantine type in his faces, otherwise felt freer. Involuntarily, one gets the impression that this artist artificially combined in his icon elements of two different iconographic types - Hodegetria and Tenderness. Christ, except for his head pressed against the cheek of the Mother of God, is given in the usual pose for Hodegetria icons: in one hand he holds a scroll, with the other he seems to bless. But, having placed the scroll in the right hand of Christ, the artist was no longer able to give his left hand in a gesture of blessing. Therefore, he was forced to leave his fingers unclenched, as was usually interpreted on the icons of Tenderness, where the left hand of Christ is depicted reaching for the neck of the Mother of God. This kind of contamination of various iconographic types once again speaks of the work of a local master who, unlike the Byzantines, was not accustomed to copying prototypes exactly.

The author of the excellent icon of St. Nicholas the Wonderworker went even further in this direction (Tretyakov Gallery) (ill. 9). Saint right hand blesses, and with the left holds the Gospel. The facial expression is unusually stern. Before us is a severe Byzantine theologian, fanatical and impregnable. The author of the icon clearly imitated the Byzantine models, whose spirit he was completely imbued with. But the more interesting are the changes that he made to his work. In order to achieve greater expressiveness, he gave the head a flattened and elongated shape, curved the eyebrows, introducing sharp angles into their line, increased the hollowness of the cheeks, increased the number of wrinkles, made the forehead excessively large, freeing its upper part from hair. The master of Constantinople, with his inherent sense of the organic, would never have broken so boldly with the Hellenistic tradition. And the Novgorod master could afford it with a light heart, since he received this Hellenistic tradition already from second hands, in a converted form. And he managed to create a unique image, unlike any of the Byzantine icons that have come down to us.

57 Wed. Constantinople icon of St. Nicholas of the 11th century in the collection of the Sinai Monastery (Frühe Ikonen. Wien–München, 1965, Taf. 15).

In accordance with his ascetic design, the artist chose stingy, dark colors - a brownish-cherry-colored robe with silver assists, a silver background, an olive-colored carnation. The wrinkles are covered with reddish-brown paint, with which all the shadows are also slightly shaded. In the deep thoughtfulness of this palette, a high coloristic culture makes itself felt. The images on the margins of the icon are made in a completely different colorful range. Standing out with bright spots on a white background, they are written easily and freely. The master who performed them was, apparently, much less connected, since he did not have an icon-painting sample before his eyes. In clothes, he boldly combines cinnabar, lemon yellow, intense blue, light blue and dark cherry tones. And in this case, I would like to talk about a purely Novgorod understanding of color. It is in these small images that the stylistic features that later gained dominance in Novgorod icon painting appear: a bold departure from traditional Byzantine canons towards enhancing the liveliness of the images, an energetic, free manner of writing, a pure and bright color scheme.

Two icons originating from Belozersk are also connected with the Byzantine trend in Novgorod painting of the 13th century. One icon depicts standing tall c. 37
c. 38¦ Peter and Paul (ill. 10), on the other - Our Lady of Tenderness surrounded by medallions with half-figures of angels and saints (ill. 11). Although the first thing reveals a certain stylistic similarity with the “Assumption” from the Tithes Monastery, it is sustained in a different scale - light, pale and watery. The figures of the apostles are given in strictly frontal poses, different from the freer turns on the icon of the 11th century from St. Sophia Cathedral. "Tenderness" is written on a silver background, which contrasts sharply with red halos. The fields of the icon are blue, the backgrounds of the medallions are pink and blue. This combination of colors alone speaks of a departure from the Byzantine tradition, which also affected the incarnation of the figures and the strengthening of the linear principle. The sad face of the Mother of God has a touch of special sincerity, which will later become typical for Russian icons on this topic.

The Byzantine trend in Novgorod icon painting reached its peak in the 12th century. In the thirteenth century it still held out, but, as we see, it had already begun to undergo a transformation. Such strengthening of local features could not help but contribute to the general situation that developed in Novgorod. The position of the princes became more and more unstable, the position of the posadniks, who opposed the princes and defended the interests of the local boyars, increased, the importance of trade and craft circles grew, often setting the tone at the veche, from 1165 the Novgorod bishops began to be called archbishops. As a result of all these changes, a number of significant shifts took place in Novgorod art, expressed in a gradual departure from the Byzantine-Kyiv traditions, which led to the crystallization of local stylistic options. This process is also reflected in icon painting. c. 38
¦

The iconography of Ancient Russia was sacred. The entire creative process was subject to strict canonical regulations. On the one hand, this impoverished the iconography of Ancient Russia, since the master used already set iconography. However, at the same time, this made it possible to focus on the "essence of the subject of spirituality", focusing on deep penetration into the image and the process of recreating it with the help of exquisite

Old Russian icon painting obeyed the laws not only in the very technique of depiction, but also in the choice of material for it. Traditionally established techniques were also used in the method of preparing the surface for the image, the composition of the soil, and the technology of preparing paints. The iconography of Ancient Russia also assumed a mandatory sequence of writing.

The writing of images was carried out with paints, the binding component of which was tempera (water emulsion with egg yolk). As a basis, as a rule, wooden boards were used. Preparing the board for writing was quite lengthy and laborious. We chose a log with a very strong inner layer. Woodworkers (woodworkers) were engaged in the manufacture of boards for icons, icon painters themselves did this very rarely.

Icons of small size were written on one board. For large images, several boards connected to each other were used.

A median recess (ark) was cut out on the front of the board. He created a kind of window. At the same time, a frame (fields) was formed along the edges.

By the nature of the fastening of the boards, the depth of the ark, the width of the margins, one can often determine the place and time of the manufacture of the board. On ancient icons (11-12 centuries), the ark, as a rule, was made deep, and the margins were wide. Later boards were made with narrow margins. Starting with, you can find icons without borders.

The primer was gesso. This is a mixture of alabaster or chalk with fish (sturgeon) glue. The board was smeared several times with glue (liquid and hot), then a canvas (fabric) was applied to it, rubbing it with the palm of your hand. Levkas was applied after the canvas had dried. The soil was applied in several layers. Its surface was carefully leveled, sometimes polished. In some cases relief was applied.

The image was applied to the prepared soil surface. The iconography of Ancient Russia assumed a phased drawing. First, with light touches of soft coal from birch branches, the first image was drawn. The second drawing, more detailed was carried out or black).

Sometimes the craftsmen used "copybooks" obtained from the icons that served as models. Thus the image was reproduced.

Then the letter began. At the first stage, "gilding" of all the necessary details was carried out, then "dolichny" writing was carried out (buildings, clothes, landscape were written). The image of the faces was carried out at the final stage. There was a strict sequence in working with paints.

The writing of icons was carried out according to the manuals ("originals"). They contained information about the technology of writing one or another image.

It should be noted that in its internal and external organization the icon is a very complex work of art. However, in the 19th century, icon painters were treated as second-class artists, while considering the icon as a primitive. The ancient masters were accused of ignorance of the methods of creating a direct perspective and human anatomy. At the same time, the icon is the result of a virtuoso technique and a high culture of depiction. The use of tempera painting required special skills that were learned over many years of study.

The icon painters of Ancient Russia perceived writing as an act of communication with another world. This required physical and spiritual cleansing.

Little information has come down to us about the masters of antiquity. However, the pages of historical evidence, the fields and turnovers of icons, the walls of temples keep the names of ancient icon painters. Among them, one should name the monk Alimpiy, his contemporaries Stefan, Gaga, Sezhir, Radko. One of the most famous icons "Trinity" was painted by Andrey Rublev.

These icons have protected Russia for centuries. They stopped armies, healed the sick, and saved them from fires.

1. Vladimir Icon of the Mother of God

According to legend, the Vladimir icon Mother of God was written by the evangelist Luke himself. It was brought to Russia at the beginning of the 12th century as a gift to Prince Mstislav.

The icon was recognized as miraculous after it three times withdrew the invaders from Moscow.

Now the icon is in the church-museum of St. Nicholas in Tolmachi at the Tretyakov Gallery.

2. Icon "Trinity"

The famous icon "Trinity" was painted by Andrei Rublev in the 15th century for the iconostasis of the Trinity Cathedral. Over the 600 years of its existence, the icon has been renovated five times, but after the restoration in 1919, the author's layer was rediscovered.

Now the icon is kept in the Tretyakov Gallery in Moscow.

3. Kazan Icon of the Mother of God

The Kazan icon of the Mother of God was found on the ashes in 1579 after the Mother of God appeared three times in a dream to the girl Matrona. Today, the Kazan Icon of the Mother of God is one of the most popular in Russia. It is believed that it was her patronage that helped Pozharsky's militia to expel the Poles from Moscow.

Of the three miraculous lists, only the St. Petersburg one has survived to our time, now it is stored in the Kazan Cathedral in St. Petersburg.

4. Tikhvin Icon of the Mother of God

It is generally accepted that the Tikhvin Icon of the Mother of God was found in Tikhvin in 1383. The icon is revered as miraculous. According to legend, it was her intercession in 1613 that helped save the Tikhvin Assumption Monastery from the invasion of the Swedes.

Now the icon of the Tikhvin Mother of God is in the Tikhvin Assumption Monastery.

5. Smolensk Icon of the Most Holy Theotokos

The Smolensk Icon of the Most Holy Theotokos was brought to Russia in the 11th century. Many miracles were attributed to her, including the salvation of Smolensk from the invasion of Batu Khan in 1239.

There are many copies of the Smolensk icon, but the prototype was lost during the occupation of Smolensk by German troops in 1941.

6. Iberian Icon of the Mother of God

The Iberian icon in the 9th century was kept in the house of a pious widow, who saved it from destruction by lowering it into the sea. Two centuries later, the icon appeared to the monks of the Iberian Monastery on Mount Athos.

In the 17th century, a copy of the miraculous icon was brought to Russia. Today you can bow to the image in the Novodevichy Convent.

7. Don Icon of the Mother of God

The Don Icon of the Mother of God is two-sided, on the back is depicted the Assumption of the Mother of God. The authorship of the icon is attributed to Theophanes the Greek. According to legend, the Cossacks presented this miraculous icon as a gift to Dmitry Donskoy before the Battle of Kulikovo in 1380.

To date, the icon is kept in the Tretyakov Gallery and leaves it every year on September 1 (August 19, old style). On this day, the image is transported to the Donskoy Monastery for the celebration of the festive service.

8. Icon of the Sign of the Most Holy Theotokos

The Icon of the Sign of the Most Holy Theotokos dates back to the 12th century. In 1170, when Andrei Bogolyubsky besieged Velikiy Novgorod, in time procession along the walls, the icon was pierced by a random arrow. The icon wept, and the troops of Bogolyubsky fled in horror.

Until now, the image is kept in the St. Sophia Cathedral in Veliky Novgorod.

9. Kursk-Root Icon of the Mother of God

The icon was found in the forest near Kursk on the day of the Nativity of the Most Holy Theotokos in 1295. In place of the acquired image, a spring immediately began to spring.

According to legend, after the Tatar-Mongol raid, the icon was cut in half, but as soon as its parts were combined, it miraculously “grown together”.

In 1920, the Kursk Root Icon of the Mother of God was taken out of Russia by the Wrangel army. Since 1957, it has been kept in the Cathedral of the Sign of the Synod of Bishops in New York.

10. Feodorovskaya Icon of the Mother of God

The exact date of the writing of the Feodorovskaya Icon of the Mother of God is unknown, but the first mention dates back to the 12th century. The icon is considered miraculous, it was saved from the fire several times, and in 1613 nun Martha blessed her son Mikhail Romanov with this icon when he was elected to the kingdom.

You can bow to the miraculous icon in the Epiphany-Anastasia convent in Kostroma.

11. Pskov-Pechersk icon "Tenderness"

The icon "Tenderness" is a copy of 1521 from the Vladimir Icon of the Mother of God. According to legend, the Pskov-Caves icon protected Pskov from the siege of the Polish King Stephen in 1581.

Now the icon is in the Assumption Cathedral of the Pskov-Caves Monastery.

12. Saint Nicholas (Ugresh icon)

The Ugresh icon appeared to Dmitry Donskoy on his way to Kulikovo Field in 1380. Later, a monastery was founded at that place, in which the image was kept until the closing of the monastery in 1925.

Now miraculous icon located in the State Tretyakov Gallery in Moscow.

13. Icon "Savior of Eleazar"

The manifest image of the Savior of Eleazar was acquired in November 1352. The icon was recognized as miraculous, and the tree on which the icon was found was walled up in the vault of the temple built at the place where the icon was found.

Since August 2010, the icon of the Savior of Eleazarovsky has been kept in the Savior-Eleazarovsky Monastery near Pskov.

14. Icon of St. Nicholas the Wonderworker (Nikola Mozhaisky)

The icon was painted in the first half of the 17th century from the famous carved sculpture depicting Nicholas the Wonderworker with a sword in his hands. In 1993-1995, the icon was restored, revealing the lower layers of paint.

Now the image is in the Church of the Descent of the Holy Spirit in Mozhaisk.

15. Icon of the Mother of God of the Seven Arrows

The revealed image of the Icon of the Mother of God of the Seven Arrows was found in the bell tower in Vologda. For many years, parishioners walked on it, mistaking it for a floorboard. The image was recognized as miraculous during the cholera epidemic in 1830.

To date, the revealed image has been lost, but one of the famous lists, the myrrh-streaming icon of the "Seven Arrows", is located in the Church of the Archangel Michael in Moscow.

16. Icon of the Holy Matrona of Moscow

Matrona of Moscow was canonized only in 1999, but her icon, painted in the 21st century, has already been recognized as miraculous. The list contains a particle of the cover and relics of the saint.

You can bow to the shrine in the Intercession Monastery in Moscow.

17. Icon of Blessed Xenia of Petersburg

Blessed Xenia of Petersburg was canonized in 1988, but they began to venerate the blessed one during her lifetime.

The most famous image is located in the Smolensk Church in St. Petersburg, where everyone can bow to him.

18. Icon of the Transfiguration of the Lord

The icon of the Transfiguration of the Lord was painted in 1403. For a long time Theophanes the Greek was considered its author, but recent studies have shown that an unknown icon painter of the same period painted the icon. The creation of the image is associated with the restoration and re-consecration of the Transfiguration Cathedral in Pereslavl-Zalessky.

From the 20th century famous icon stored in the Tretyakov Gallery in Moscow.

19. Icon of St. Spyridon Trimifuntsky

One of the miraculous images of Spyridon Trimifuntsky is located in the Church of the Resurrection of the Word on the Assumption Vrazhek. Inside the icon is an ark with the relics of the saint.

20. Icon of St. Basil the Blessed in prayer to Christ

The icon was painted at the end of the 16th century for the Cathedral of the Intercession-on-the-Ditch, which is better known as St. Basil's Cathedral.

The icon is still kept on same place and is one of the oldest images of the temple.

21. Savior Not Made by Hands Simon Ushakov

The Icon of the Savior Not Made by Hands was painted by Simon Ushakov in 1658. The icon painter was criticized for the uncharacteristic depiction of the face of Christ, but later this particular image became the most popular in Russia.

Now the icon is kept in the Tretyakov Gallery in Moscow.

22. Icon of the Savior in the Force by Andrey Rublev

The icon of the Savior in Strength was painted by Andrei Rublev and his apprentices for the iconostasis of the Assumption Cathedral in Vladimir in 1408.

The icon can be seen in the Tretyakov Gallery in Moscow.

23. Icon of Seraphim of Sarov

One of the most revered icons of Seraphim of Sarov is kept in the Danilov Monastery in Moscow. The image is an exact list from the cell icon of Shegeumena Tamar and contains a rosary, part of the saint's mantle and part of the stone on which he prayed for a thousand days.

“Beyond discoveries in the realm of the material, we can discover the Creator, just as we can recognize the author of a poem, painting, icon or piece of music. We don’t confuse him with anyone, but listen and say: “Oh, only such and such could write this.” This is also true with regard to God,” the words of Metropolitan Anthony of Surozh about the view of the world in his .

And the thrill in it, and the power of inspiration!
Before the face of the heart in sweet fire ...
The icon is a creation of human hands -
Captured the spirit on the canvas

L. Golubitskaya-Bass

Any icon is inevitably an incomplete image of Christ, the Mother of God, this or that saint: only the person himself is the true image of himself. But each icon painter communed with God, learned something about God through communion, in communion, and captured his experience on canvas or on wood. Each icon conveys something absolutely authentic, but through the perception of a particular icon painter.

In a sense, this is how we perceive Christ in His Incarnation. We paint icons that differ greatly from each other, and none of them reproduces absolutely exactly Christ Himself, but depicts Him the way I see Him, the way I know Him. It is remarkable that we do not have a photographic representation of Christ which would give us a momentary and extremely limited idea of ​​His appearance and would make Him alien to anyone who knows Him otherwise.

Metropolitan Anthony of Surozh

You can learn more about Vladyka’s spiritual testament by reading the cycle of conversations in more detail, where in the last nine months of parish meetings, the metropolitan reveals himself to the listener without a trace, as if wishing not to leave anything unspoken before his departure.

Today we will talk about those who captured living images and memory on the canvas of icons - about icon painters. Who are they? What works do we know? Where can you see their creations with your own eyes?

In Ancient Russia, it was believed that being an icon painter is a whole ascetic, moral and contemplative path.

“It was Russia that was given the opportunity to reveal that perfection of the artistic language of the icon, which revealed with the greatest force the depth of the content of the liturgical image, its spirituality. It can be said that if Byzantium gave the world primarily theology in the word, then theology in the image was given by Russia.”

Leonid Uspensky, theologian, icon painter

1. Theophanes the Greek (about 1340 - about 1410)

The name of Theophan the Greek is in the first row of ancient Russian icon painters, his outstanding talent was already recognized by his contemporaries, calling him a “very cunning philosopher”, that is, very skillful. He made a huge impression not only with his works, but also as a bright personality.

The exact years of the artist's life are unknown, presumably he was born in Byzantium in 1340 and for many years painted the churches of Constantinople, Chalcedon, Galata, Kafa, Smyrna. But Feofan gained world fame with icons, frescoes and murals made precisely in Russia, where he arrived as an already established master of his craft at the age of 35-40 years.

Before coming to Russia, the Greek worked on a large number of cathedrals (about 40).

The first and only fully preserved work of his, whose authorship is confirmed, is the painting of the temple Savior of the Transfiguration on Ilyin street in Veliky Novgorod, where Theophanes the Greek stayed for about 10 years.

It is mentioned in the Third Novgorod Chronicle: “In the summer of 6886 (1378 AD), the Church of the Lord God and Savior Jesus Christ was signed in the name of the divine Transfiguration .... And it was signed by the Greek master Feofan. The remaining works of the icon painter are determined only by the signs of his work.

Reverend Macarius the Great, fresco from the Church of the Transfiguration of the Savior on Ilyina Street,
Veliky Novgorod

The frescoes of the famous icon painter are easily recognizable by the pastel colors and white highlights over the dark red-brown tone, which are used in the depiction of the hair of the saints and the draperies of their clothes, and rather sharp lines are also inherent in his style. Feofan's bright creative individuality is manifested in a free, bold, extremely generalized, at times almost sketchy manner of writing. The images created by Feofan are distinguished by inner strength, great spiritual energy.

He left a significant contribution to Novgorod art, in particular to masters who professed a similar worldview and partly accepted the master's manner.

The most grandiose image in the temple is the chest image of the Almighty Savior in the dome.

Theophanes the Greek seeks to convey the saint at the moment of a religious feat or ecstasy. His works are characterized by expression and inner strength.

The subsequent events of Theophanes' life are poorly known, according to some information, in particular from a letter Epiphanius the Wise Abbot of the Afanasiev Monastery Cyril of Tver, the icon painter worked in Nizhny Novgorod (the paintings have not been preserved), some researchers tend to believe that he also worked in Kolomna and Serpukhov. Arriving in Moscow around 1390, he had many commissions and was also known as a skilled miniaturist. Researcher B. V. Mikhailovsky wrote about him:

"Theophan's works amaze with their virtuosity, courage of a confident brush, exceptional expressiveness, brilliant freedom of individual creativity."

Theophanes the Greek led the painting of a number of Moscow churches - this is the new stone church of the Nativity of the Virgin in 1395, together with Semyon Cherny and students, the church of St. Michael the Archangel in 1399, the painting of which burned out during the invasion of Tokhtamysh, and the Church of the Annunciation together with the elder Prokhor from Gorodets and Andrey Rublev in 1405.

In the work of Theophanes the Greek, two poles of Byzantine spiritual life and its reflection in culture were most fully expressed and ideally embodied in it - the classical beginning (singing of earthly beauty as a Divine creation, as a reflection of the highest perfection) and the aspiration to spiritual asceticism, rejecting the external, spectacular , beautiful.

In the frescoes of the icon painter, sharp gaps, as if fixing the moment of a mystical vision, piercing flashes of light falling with sharp blows on faces, hands, clothes, symbolize divine Light penetrating matter, incinerating its natural forms and reviving it to a new, spiritualized life.

The limited range of colors (black, reddish-brown with many shades, white, etc.) is like an image of a monastic, ascetic renunciation of the diversity and multicolor of the world.

Figures of the archangels in the Church of the Transfiguration of the Savior on Ilyina Street,
Veliky Novgorod

The Byzantine master found a second home in Russia. His passionate inspired art was in tune with the attitude of the Russian people, it had a fruitful influence on the contemporaries of Theophan the Greek and subsequent generations of Russian artists.

Daniel the Black (about 1350 - about 1428)

Daniil Cherny, whose biography has not been preserved in complete reliable sources, possessed the strongest talents, namely the gift of psychological characteristics and colossal painting skills. All his works are harmonious to the smallest detail, integral and expressively colorful. The perfection of the drawing and the liveliness of movement distinguish his works from a number of the most talented masters.

Teacher and mentor of Andrei Rublev. He left behind a rich legacy of frescoes, mosaics, icons, the most famous of which are the "Bosom of Abraham" and "John the Baptist" (Assumption Cathedral in Vladimir), as well as "The Mother of God" and "Apostle Paul" (Trinity-Sergius Lavra, St. Sergiev Posad, Moscow region).

Fresco "Bosom of Abraham". Assumption Cathedral, Vladimir

By the way, the fact that Daniil always worked in collaboration with Andrei Rublev creates the problem of dividing the work of the two artists.

Where did this nickname come from - Black?

It is mentioned in the text "Tales of the Holy Icon Painters", written at the end of the 17th - beginning of the 18th century. These chronicles are evidence and clear evidence that Daniil painted the Assumption Cathedral in Vladimir together with Andrei Rublev. In the sources, the name of Daniel is called the first before the name of Rublev, which once again confirms the seniority and experience of the first. Not only the "Legend of the Holy Icon Painters" indicates this, Joseph Volotsky also calls Daniil the teacher of the famous Rublev.

By coincidence, or, most likely, due to an epidemic, Daniel died simultaneously with his colleague in 1427 from a certain “pestilence” (fever). Both famous author buried in the Spaso-Andronikov Monastery in Moscow.

Andrei Rublev (circa 1360 - around 1428)

World-famous Russian icon painter, monk-artist, canonized as a saint. For hundreds of years it has been a symbol of the true greatness of Russian icon art. He was canonized in the year of the millennium of the Baptism of Russia.

The year of birth of St. Andrei Rublev is unknown, as is his origin, historical information about him is scarce. The presence of his nickname-surname (Rublev) makes it possible to assume that he came from educated circles of society, since only representatives of the upper strata wore surnames in that era.

The earliest of famous works Rublev is considered to be joint painting of the Annunciation Cathedral of the Moscow Kremlin in 1405 with Feofan the Greek and Prokhor from Gorodets.

In his works and creations, a special Moscow icon-painting style, already established by that time, can be traced. The Monk Andrei himself lived for many years, and after his death he was buried in the Andronikov Monastery in the capital on the banks of the Yauza, where a museum named after him now operates.

Living in a highly spiritual atmosphere, monk Andrei learned historical examples holiness and examples of ascetic life that he found in his environment. He delved deeply into the teachings of the Church and into the lives of the saints whom he portrayed, followed them, which allowed his talent to reach artistic and spiritual perfection.

In the life of the reverend Sergius of Radonezh says:

"Andrew is an outstanding icon painter and surpasses everything in green wisdom, having honest gray hair."

Fresco "The Savior Not Made by Hands", Spassky Cathedral of the Andronikov Monastery,
State Tretyakov Gallery, Moscow

Rublevsky Spas- this is the embodiment of typical Russian goodness. Not a single element of Christ's face is overemphasized - everything is proportionate and consistent: he is Russian, his eyes are not exaggerated, his nose is straight and thin, his mouth is small, the oval of the face, although elongated, is not narrow, there is no asceticism in it at all, a head with a thick mass hair with calm dignity rises on a strong, slender neck.

The most significant thing about this new look is the look. It is directed directly at the viewer and expresses a lively and active attention to him; it feels the desire to penetrate into the soul of a person and understand him. The eyebrows are freely raised, which is why there is no expression of tension or sorrow, the look is clear, open, benevolent.

Rublev's unsurpassed masterpiece is traditionally considered icon of the Holy Trinity written in the first quarter of the 15th century. The plot is based on the biblical story about the appearance of a deity to the righteous Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the oak of Mamre, and Abraham was given to understand that the deity in three persons was embodied in the angels.

They are depicted seated around the throne, in the center of which is placed the Eucharistic chalice with the head of a sacrificial calf, symbolizing the New Testament lamb, that is, Christ. The meaning of this image is sacrificial love. The left angel, meaning God the Father, blesses the cup with his right hand. The middle angel (Son), depicted in the gospel robes of Jesus Christ, lowered to the throne with his right hand with a symbolic signet, expresses obedience to the will of God the Father and readiness to sacrifice himself in the name of love for people.

The gesture of the right angel (Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming the lofty meaning of sacrificial love, and consoles the doomed to sacrifice. Thus, the image of the Old Testament Trinity (that is, with details of the plot from the Old Testament) turns into an image of the Eucharist (Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established on it (communion with bread and wine as the body and blood of Christ). The researchers emphasize the symbolic cosmological significance of the compositional circle, in which the image fits succinctly and naturally.

There are no unnecessary details on this icon, and each element carries a special theological symbolism. To create such a masterpiece, it was not enough to be a brilliant artist. The Trinity, like all of Rublev's work, became the pinnacle of Russian icon painting, but, moreover, it is evidence of the spiritual height that St. Andrew reached through his monastic feat.

Dionysius (circa 1440 - 1502)

Leading Moscow icon painter and iconographer of the end of the 15th - early XVI centuries. Considered a continuation of tradition Andrey Rublev and his most talented student.

The earliest known work of Dionysius is the miraculously preserved painting of the Church of the Nativity of the Mother of God in the Pafnutyevo-Borovsky Monastery near Kaluga (15th century).

The work of Dionysius in the north of Russia deserves special mention: around 1481 he painted icons for the Spaso-Kamenny and Pavlovo-Obnorsky monasteries near Vologda, and in 1502, together with his sons Vladimir and Theodosius, frescoes for the Ferapontov Monastery on Beloozero.

Icon of the Monk Demetrius of Prilutsky, Ferapontov Monastery,
Kirillo-Belozersky Historical, Architectural and Art Museum Reserve, Arkhangelsk Region.

One of the best icons of Dionysius is icon of the Apocalypse from the Dormition Cathedral of the Moscow Kremlin. The creation of the icon was associated with the end of the world expected in 1492. The full name of the icon: "Apocalypse or revelation of John the Theologian, vision of the end of the world and the Last Judgment."

Multi-tiered compositions are depicted: crowds of believers in beautiful clothes, embraced by the single power of prayer, bowed before the lamb. Majestic pictures of the Apocalypse unfold around the worshipers: behind the walls of white-stone cities, translucent figures of angels contrast with the black figures of demons. Despite the complexity, multi-figure, crowded and multi-tiered composition, the icon of Dionysius "Apocalypse" is graceful, light and very beautiful in terms of color scheme, like the traditional icon painting of the Moscow school from the time of Andrei Rublev.

Simon Ushakov (1626 - 1686)

The favorite of Tsar Alexei Mikhailovich, the favorite and only icon painter of the first persons of the state, who reflected in his works the most important historical and cultural processes of the 17th century.

Simon Ushakov, in a certain sense, marked with his work the beginning of the process of “secularization” of church art. Fulfilling the orders of the tsar and the patriarch, the tsar's children, the boyars and other important people, Ushakov painted more than 50 icons, marking the beginning of a new, "Ushakov" period of Russian icon painting.

Quite a few icons painted by Ushakov have come down to us, but most of them have been distorted by later recordings and restorations. He was a highly developed person for his time, first of all a talented artist, who perfectly mastered all the means of technology of that era.

The first signed and dated works by Ushakov date back to the 50s of the 17th century, and the earliest of them is the icon “Our Lady of Vladimir” of 1652. He not only chooses the glorified ancient miraculous image, he reproduces it in "measure and likeness."

Simon Ushakov. Our Lady of Vladimir
on the back - Calvary Cross. 1652

In contrast to the rule adopted at that time “to paint icons according to ancient patterns,” Ushakov was not indifferent to Western art, the trend of which had already spread widely in Russia in the 17th century. Remaining on the basis of the primordial Russian-Byzantine icon painting, he painted both according to the ancient “patterns” and in the new so-called “Fryazh” style, invented new compositions, looked closely at Western models and nature, and strove to impart character and movement to the figures.

Icon "The Last Supper" (1685) Assumption Cathedral of the Trinity-Sergius Lavra,
Moscow region

In his work, he strove for a more realistic presentation of the human face and figure. At the same time, in compositions, he still adhered to the old patterns and rules, which is why duality is visible in his art. He painted many times Savior Not Made by Hands, trying to give the face living human features: an expression of suffering, sadness; convey the warmth of the cheeks and the softness of the hair. However, he does not go beyond the rules of icon painting.

Savior Not Made by Hands,1678

Another important historical feature creativity of Ushakov is the fact that, unlike the icon painters of the past, Ushakov signs his icons.

At first glance, an insignificant detail in essence indicates a serious change in the public consciousness of that time: if earlier it was believed that the Lord himself leads the hand of the icon painter (even if for this reason the master does not have the moral right to sign his work), now the situation is changing to the completely opposite and even religious art acquires secular features.

Ushakov was a teacher for many artists of the 17th century. and stood at the head of the artistic life of Moscow. A significant part of the icon painters followed in his footsteps, gradually freeing painting from the old techniques.

Theodore Zubov (circa 1647 - 1689)

Zubov Fedor Evtikhievich - a prominent gifted icon painter who lived in the 17th century. He painted his creations in the Baroque style.

Icon "Ilya the Prophet in the desert", 1672

Like Simon Ushakov, he worked at the royal court as a denominator of the Armory and was one of the five "paid icon painters". Having worked in the capital for more than 40 years, Fyodor Zubov painted a huge number of icons, among which were images of the Savior Not Made by Hands, John the Baptist, Andrew the First-Called, the prophet Elijah, St. Nicholas and many other saints. He worked on the wall paintings of the Kremlin cathedrals.

Interesting fact: Fyodor Zubov became a "complained icon painter" of the royal court, that is, a master who receives a monthly salary and through this - a certain confidence in the future, according to the principle "if there were no happiness, but misfortune helped." The fact is that in the early 1660s, the Zubov family was left practically without a livelihood, and the icon painter was forced to write a petition to the tsar.

The main features of the creative execution of his works are the calligraphic style characteristic of the Ustyug icon painters, with the predominance of the finest decorative "patterns". Zubov tried to combine the best achievements of 17th century icon painting with the achievements of more ancient traditions.

Researchers of Russian icon painting agree that the main merit of Fyodor Zubov was the desire to return the depicted faces of saints to spiritual significance and purity. In other words, Zubov tried to combine the best achievements of the icon painting of the 17th century with the achievements of more ancient traditions.

Zubov introduces several plots into one work, among which one is the main one, and the rest are secondary, but carefully interpreted, with all the fullness of artistic and meaningful persuasiveness. Here is how poetically described by one of the researchers of the XIX century early work 3ubova - icon "John the Baptist in the Wilderness"(about 1650, State Tretyakov Gallery):

“... The sacred river Jordan winds there, trees grow there, the leaves of which are nibbled by deer; the lions there drink from the river, the holy desert-dweller draws water from the same river, and the deer lies peacefully beside him. Golden pines draw their silhouettes against the dark background of the forest thicket, and the real sky smokes above their tops.

The example of this work by Zubov shows how the future picturesque landscape was born in the depths of icon painting.