Our Lady on the throne with marks. Icons of the Mother of God - photos with names and descriptions
The type of the Mother of God, seated strictly frontally on a throne, with the Child located along the central axis, appeared in the Roman catacombs of the 3rd–4th centuries and was the first type of prayer image of the Mother of God. Even earlier, in the first centuries of Christianity, when the tradition of icon veneration was just taking shape, the Mother of God and the Savior were not depicted on a separate icon, but were represented as participants in the scene of the Adoration of the Magi. Byzantium inherited the image of the Mother of God sitting on the throne and gave it a monumental sound in the mosaics decorating the apses of churches (Ill. 1). “In a solemn frontal pose, dressed in purple like an empress, with her head covered like a nun, She holds a blessing baby in her arms. Royal and monastic features come together in the ideal of restraint, severity, self-control” (S. S. Averintsev).
The type of icon of the Mother of God, seated on a throne surrounded by those present (saints or angels), was adopted by Russian icon painters and masters of temple painting and received the name Pechersky. In Russian iconography, the 13th century Our Lady of Pechersk is known, where the Child blesses with both hands, from the Kiev Pechersk Monastery (Ill. 2). Also in the 13th century, a type of half-length Hodegetria appeared in Rus', which was destined in numerous editions to become the most beloved and widespread type of the Mother of God icon.
The Pechersk type of icon of the Mother of God did not receive this widespread in Rus', as various versions of the belt Hodegetria, where tenderness, softness and love, gentle mutual inclination or contact of the faces of Mother and Child (“Tenderness,” for example) dominate the “ideal of restraint and severity.” The image of the Mother of God - the Queen on the throne became not particularly widespread in Russia, but rather appeared only sporadically.
However, in monumental church art, the image of the Mother of God on the throne in the apse of the temple was quite traditional - it is enough to remember that Dionysius twice used this motif in the painting of the Church of the Nativity of the Virgin Mary at the Ferapontov Monastery (Ill. 3). Not least of all, this is due to the fact that it was then Grand Duke Moscow was named Sovereign and Autocrat of All Rus', the idea of a “third Rome” was formulated, and the spirit of solemn representativeness, “statehood” became a requirement of the time. “No matter how highly we regard Dionysius and his followers, their works no longer contain the depth and spontaneity of feeling that distinguished Andrei Rublev and the masters of his circle,” wrote V. N. Lazarev in this regard.
The second birth of the image of the “throne Mother of God” occurred during the reign of Russian empresses, in the era of Russian Baroque, and appeared in the shell of secularized art. Here the Mother of God received the symbols of earthly royal power - a scepter and an orb; those to come disappeared. All the iconographic features of the icon appeared, which a hundred years later received the name “Sovereign”. They were perhaps not yet completely stable. Thus, in the Palekh icon of the mid-19th century (very beautiful, combining jewel-like finesse of writing, solid color, deeply interpreted faces and touching Palekh eclecticism) there is no power in the right hand of the Mother of God (Ill. 4).
Sometimes, in an effort to flatter not only the authorities, but also the personality of the ruler, the artist gave the face portrait features of the empress (Empress Elizabeth Petrovna on the icon of A.I. Belsky) (Ill. 5). Sometimes this icon painting type was an occasion to create a decorative image - elegant, painted bright colors in popular taste, with an unusually strong, “suprematist” movement of lines and forms (Ill. 6). At times, baroque forms, royal splendor of regalia and clothes, and the naivety of the isographer’s folk taste were combined into a bizarre, almost fantastic bouquet (Ill. 7). But this is not the Sovereign revealed on the day of the Sovereign’s abdication.It dates back to the end of the 18th century and is designed in the Baroque style (Ill. 8, 9). There is no trace of smooth writing or decoration in the letter. It is written broadly and with inspiration. The Baroque tradition is reflected in the strong movement of the folds of clothing and the dynamic position of the figures. The composition of the icon is devoid of happy balance; it is rather bold. An unusually large part of the vertically elongated icon board is occupied by the image of God the Father, which adds a touch of humility to the overall royal and solemn appearance of the Mother of God.
The appearance of the icon, marked by miracles, caused a wave of popular veneration, which led to the production of numerous copies. Stylistically, they were varied - Old Russian, 17th century, Art Nouveau with Vasnetsov-like features (Ill. 10), grassroots pseudo-academicism, Palekh stylizations, and more. Noteworthy is the fact that the artists, adhering to the iconography of the sample, very rarely followed the plastic nature of the original (Ill. 11).Now that the museum confinement of the icon has ended, many copies of it are being written again. And again we see that the style of the revealed icon is not reproduced, being replaced by an appeal to the ancient Russian tradition (Ill. 12). Of course, the list of icons is not an academic copy. As Fr. wrote. Sergius Bulgakov, “as for the religious content of this or that icon, history already testifies that in the church there is a unique life of the icon. In this life, some themes or versions of icons of known content come to the surface, others fall out of use, but, in any case, the possible content of an icon can never be considered exhausted or not allowing for change or increment.”
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List 1918 |
Modern list |
List of the first quarter of the 20th century. |
It is now difficult to judge the original coloring of the icon, but the appearance in which it was found in the basement of the church - blackened, as if drowned in thunderclouds - eloquently testifies to the brink of destruction that Russia faced. The icon was restored in accordance with the command to “make the icon red”, received by the peasant woman Evdokia Ivanovna Andrianova in a dream, and is distinguished by a well-seasoned warm coloring with an emphasis on the purple of the royal clothes. In the icon case, in the flickering light of lamps and candles, she lives mysteriously church life, it seems that the face of the Virgin Mary changes its expression (Ill. 8).
The figure of the Mother of God is positioned strictly frontally, and the figure of the Infant God with the blessing right hand has a diagonal and helical, characteristically baroque movement. The face of the Mother of God is full inner life- of course, this is not earthly passion, but still one can see in it both imperious severity and maternal concern for the lost and suffering. It seems that it was precisely this combination of iconic dispassion with hidden drama (and, of course, the circumstances of the miraculous discovery) that made the icon an object of widespread veneration.
They say that the icon is a shrine of monarchists. Well, the meaning of each icon, and especially such an outstanding one as the revealed Sovereign one, is semantically extremely multi-layered, and the ideas of tsarist power, pain for Russia, hope for the revival of our Fatherland, of course, permeate the image. It is believed that the scepter and orb in the hands of the Mother of God received a new meaning - She holds them until the time when the Orthodox Tsar appears, who, having donated it to Russia, must accept these regalia from Her. The icon, by its nature, is not homemade, not private. This is essentially a monumental mural image intended for cathedral worship. It was as if he had come down from the wall of the temple in order to participate in grandiose religious processions. But “monarchical” is only one of the semantic levels, and Orthodox admirers of holy icons should not forget about the Christocentricity of our faith, about the Mother of God, pointing to the Path, Truth and Life, and that She is our first hope after Christ.
The time is not far when we will celebrate the centenary of the acquisition of the Sovereign.
Probably, over the years, new lists of the revered image will appear. I would like to hope that through conciliar efforts icons will emerge that follow the spirit, and where necessary, the letter of the revealed image. This difficult task, which, however, would be interesting and responsible to work on.
I would like to complete these notes with a few professional considerations that would guide me when painting the image of the Sovereign Mother of God:
1. In composition
As reported by " Orthodox Encyclopedia", the bottom of the board (depicting the feet of the Mother of God) was cut down approximately 20 cm due to the poor condition of the base at the time of its discovery. Taking this into account, it is necessary to paint either a generational or full-length image, since the cut at the level of the feet is not approved (and not without reason) by all composition theorists.
2. In the picture
The faces and figures of the Mother of God and the Child of God on the original icon, with their expression and depth of content, inspire us to follow them very carefully. At the same time, the Baroque style, reflected in the strong movement of the figures and the expression of the stroke, can be somewhat softened and calmed (in the spirit of Athonite icon painting), to the extent that the Baroque style was a tribute to the time when the icon was created. But some elements of the original style must be left intact, since they “work for the image” with their drama and openness of expression.
3. In painting
In the color scheme of the icon, it would be possible to combine the coloring of the image as it was at the time of acquisition with its current, renewed and cleared version. Make a strong emphasis on the purple of the royal clothes. The background is dark golden thunderclouds, like on some Athos icons. A gap in the clouds is light and shining, expressing hope.
“We thank the Mother of God for Her intercession, for Her power over us, for the fact that She did not deprive us of this power, that She preserved our church-state tradition, preserves and strengthens it constantly. And we will ask Her that She will continue to strengthen in each of us the sense of submission to the Heavenly King, obedience to His holy will, good and perfect, so that She will help us in our lives to overcome that division, that disobedience, that collapse that we we see in ourselves and around us.”
(Priest Nikolai Bulgakov, rector of the temple in the name of the Sovereign Icon Mother of God in Zhukovsky).
Marina Zhukova. November 2010
Literature
Archpriest Sergius Bulgakov. Icon and icon veneration. M., 1996.
V. N. Lazarev. Story Byzantine painting. M., 1986.
V. N. Lazarev. Russian icon painting. M., 1983.
Christianity: dictionary. M., 1990.
Yu. G. Bobrov. Fundamentals of the iconography of ancient Russian painting. M., 1995.
Saturday of the fifth week of Lent Orthodox Church performs non-seated singing to the image Holy Mother of God.
The ancient Israelites, seeing the death of their enemies in the depths of the Red Sea, sang a victorious song to God the Deliverer on its shores: “Thy right hand, O Lord, is glorified in strength; Thy right hand, O Lord, crusheth the enemies!”
Since then, the Old Testament Church has annually sung this song of gratitude and victory on the holiday of Easter in remembrance of its miraculous deliverance from powerful enemies. The Orthodox, New Testament church has seen itself repeatedly struggling with the right hand of the Almighty; her enemies in difficult moments of danger were overthrown by miraculous help.
On Saturday, the fifth week of Great Lent, the Holy Church solemnly proclaims the prayer singing of the akathist, or thanksgiving praise to the Most Holy Theotokos Hodegetria.
This holiday was established in the 9th century in memory of the repeated deliverance of Constantinople with the help and intercession of the Most Holy Theotokos from the invasion of adversaries. Under Emperor Heraclius, when Patriarch Sergius, carrying in his arms the icon of the Most Holy Theotokos along the pillars and walls of the city, begged the Lord for protection against the fierce enemies of the Persian and Scythian troops besieging Constantinople, then the people sought protection in the churches of the Lord, day and night begging the zealous Intercessor save your city. This icon is now in Moscow in the Assumption Cathedral and is called Blachernae.
Emperor Constantine the Great, the founder of Constantinople, dedicated it to the Mother of God and revered the Blessed Virgin as his patroness and his city. Many temples in Her honor were erected there. The Volachern Church kept her holy icon, painted by St. Evangelist Luke. On a memorable night, when the united forces of the Hagarians and Persians from the sea and from the land moved to crush the walls of Constantinople, suddenly a terrible storm arose against the Blachernae temple itself, which scattered and sank their ships with a multitude of troops. The remaining enemies fled in shame. It was then that all that night the grateful people who were in the Blachernae Church proclaimed a victorious, all-night and non-sedal hymn to the Defender of the city:
“To the elected Voivode, victorious,as if we have got rid of the evil ones, let us sing thanksgiving to Thy Tirabi, the Mother of God!”
And from that time on, in commemoration of such a great miracle, the Orthodox Church established a festival Praise to the Blessed Virgin Mary.
At first, the feast of the Akathist was celebrated in Constantinople among the royal palaces in the Blachernae Church, where the miraculous icon of the Mother of God and the sacred remains of Her earthly life - Her robe and belt - were kept; but in the 9th century this holiday was included in the typologies of the monasteries of St. Sava of Studium and then in the triodion, and from that time on it became common to the entire Eastern Church.
This akathist is a sacred praise of the Blessed Virgin. It consists of 24 hymns, or songs: 12 kontakia and 12 ikos, arranged according to the 24 letters of the Greek alphabet. Each song begins with its corresponding
counted by letter, each kontakion ends with a psalm Hallelujah, each ikos is a greeting from the archangel: rejoice.
All creation ends a short prayer to the Blessed Virgin so that She would save Christians from troubles and misfortunes. The akathist is read in this form on other days; but on Saturday of the Feast of the Praise of the Mother of God it is part of the service and is sung at Matins not all at once, but separately, in the interval of other songs, in four different exits, and each section begins and ends with the singing of the first kontakion: Chosen Voivode etc. The Akathist was written in the middle of the 7th century, according to many, by the deacon of the great Church of Constantinople, George of Pisidia. Subsequently, Joseph the Studite wrote a canon on Saturday Akathist, and some other persons added prayers of thanksgiving to this in memory of the same all-powerful voivodeship Mother of God.
Our Orthodox Church celebrates this celebration to strengthen the repentant in the hope of the Heavenly Intercessor, who, by delivering the faithful from visible enemies, is all the more ready to help us in the fight against visible enemies.
The image of the Praise of the Blessed Virgin Mary is located in the Moscow Assumption Cathedral on a pillar.
People turn to her with prayers for help, requests for healing or intercession. They say thank you for the help provided in difficult life situations. She is considered a symbol of the highest kindness, meekness, chastity and wisdom. She is the Mother of God, whose icons are in every Orthodox church, and all the images are difficult to list and review. It is also present in the homes of people who believe in God and keep his commandments.
Various icon options
The Mother of God is represented in icons in different ways. Each of them has its own name; the meaning of the icon of the Virgin Mary may also differ in some details. It helps resolve certain life situation that happened in the life of someone in need of help. Her appearance is always depicted as a little sad, meek. This is the only way Virgo can look at people, because they live in constant trouble, suffer, and sin.
It would take a huge catalog to list all the icons of the Mother of God with names, because in addition to the originals there are numerous lists, which were often glorified separately. Therefore, first it is better to consider the main types of icons of the Virgin Mary:
- Hodegetria - these icons of the Mother of God are depicted with a baby on her left hand, they can be used with different names, but the Mother of God always points to Christ, and the Infant God makes a blessing gesture, they also happen with a baby on her right hand, the situation with the names is identical here, they are different , but canonical is general;
- Eleusa - They pressed their cheeks to each other, symbolically such icons of the Mother of God indicate high value for every person to have a reverent attitude towards the Lord;
- Oranta - this type of Mother of God icons includes those where a medallion with Christ is depicted on the chest of the Virgin Mary, and she raises her hands to the sky, praying for people and asking for the mercy of the Lord;
- Akathist - the name of the icons is conditional, it is also possible to call these images plot, here icons of the Mother of God and saints are often combined, the essence is to glorify a certain quality of the Mother of God, which is noted in the akathists.
It is impossible to list how many icons of the Mother of God there are, but there is an opportunity to try, based on the previous classification, let us consider the most famous images:
- Hodegetria - the miraculous icon of Kosinskaya (Modena), the Damascene icon, which is also called the Three-Handed One, the Hearer, the icon with the ladder, Corfu, Gerbovetskaya,
- Eleusa - Yaroslavl icon, Volokolamsk, Balykin, Feodotyevsk, Yelets, Rozhkov,
- Oranta - Novgorodskaya, Alabatskaya, Unbreakable Wall, Inexhaustible Chalice;
- Akathist - Trubchevskaya (although it can also refer to the first type), Augustovskaya, Kiprskaya.
Separately, we should highlight miraculous icons Mother of God, that is, those who were given from above. These images were imprinted on some surface or people simply found an icon somewhere
These rare icons The Mother of God is revered in a special way and is often miraculous.
General details of the image
On the canvases there are icons of the Virgin Mary common features images. Her hair is hidden under a cape (maforia) hung over her shoulders. It was done this way because in ancient times, in Israel, it was mandatory requirement To appearance women. According to tradition, this cape is red, so that all people remember that She herself is from the royal family, and this also reflects the great suffering that the Mother of God endured. The lowest layer of clothing is depicted in blue color, denoting the heavenly purity and perfection of the Mother of God. Icon painters thus show her connection with God.
It is difficult to ignore the description of the symbolism of the icon of the Virgin Mary, which means and reveals the full depth of meaning of the drawing. Studying Christian traditions, the image of the Mother of God means not only a specific person, but the entire church as a whole.
The image of the sleeves on the Virgin’s clothing is made in the form of handrails, that is, the traditional attire of all clergy. The Virgin Mary, with the entire church, calls to serve together with Christ, who is the very first priest. The image of stars on the shoulders and head of the Mother of God speaks of her divinity and purity. It is also considered a symbol of the unity of the Trinity. In many countries around the world, entire temples have been erected in honor of the Virgin Mary, which can be visited by anyone. In some of these churches there are icons that work miracles, helping those in need who turn to them.
Prayers to the Blessed Virgin Mary
Actually prayers huge amount, just like icons. Different images can be glorified in different days church calendar.
Prayer 1
To my queen, my hope, to the Mother of God, friend of the orphans and the strange, to the representative, to the mourning, to the joy of the offended, to the patroness!
See my misfortune, see my sorrow; help me, for I am weak, feed me, for I am strange!
Weigh my offense - resolve it, like voles!
For I have no other help but You, no other Representative, no good Comforter, except You, O Mother of God!
May you preserve me and cover me forever and ever. Amen.
Prayer 2
It is worthy to eat as truly the blessedness of Thee, the Mother of God, the Ever-Blessed and Most Immaculate and the Mother of our God. The most honorable cherub and the most glorious without comparison seraphim, without the corruption of God the Word, who gave birth to the real Mother of God, we magnify Thee.
Prayer 3
Virgin Mary, Rejoice, O Blessed Mary, the Lord is with You; Blessed are You among women and blessed is the Fruit of Your womb, for You have given birth to the Savior of our souls.
Icons of the Mother of God evoke a special feeling among Orthodox Christians. Photos with the names of the most famous images in Russia are presented on this page.
Through icons, believers turn to the Mother of God with prayers for strengthening faith, healing illnesses, and saving the soul.
How many icons of the Mother of God are there?
No one knows exactly how many different images of the Mother of God have been written. In the monthly book published by the Moscow Patriarchate, 295 names are mentioned.
But according to iconography, the images of the Mother of God are divided into only three types: Oranta (looks with arms raised up), Hodegetria (the baby blesses the Mother of God), Eleusa (tenderness, clinging to each other).
Icons of the Mother of God with photos and descriptions
Below is a list of Holy Faces, the most popular or, on the contrary, little known, whose history or description is very interesting.
"Kazan" Icon of the Mother of God
Celebrated on July 21 and November 4. The miraculous image saved the country in times of unrest, disasters and wars. Its significance is to preserve the country under the shadow of the Mother of God.
The most revered image in Rus'. Found in 1579 in Kazan in a fire during the persecution of Christians. They bless married couples, pray for the healing of eye diseases, and to repel foreign invasion.
Icon of the Mother of God “Inexhaustible Chalice”
In 1878, one retired soldier suffering from heavy drinking had an apparition of St. Varlaam to go to the city of Serpukhov and pray there in front of a certain image. This icon turned out to be the now famous “Inexhaustible Chalice”.
Icon of the Most Holy Theotokos “Theodorovskaya”
Celebrated on March 27 and August 29. They ask her for a happy marriage and healthy children.
Possibly written by the Apostle Luke. It was located in the 12th century in the city of Gorodets. She miraculously moved to Kostroma: she was seen in the hands of St. warrior Theodore Stratilates, who walked with her through the city. Hence the name “Feodorovskaya”.
"Sovereign" Mother of God
Celebrated on March 15th. The meaning of the image is that power over Russia passed from the Tsar directly to the Virgin Mary.
Revealed in 1917 in the village of Kolomenskoye, in the Moscow region, on the very day on which Nicholas II abdicated the throne. It was as if the Most Holy Theotokos took over the power from the Tsar.
"Vladimir" icon
Celebrated on June 3, July 6, September 8. The significance of the image for Orthodox Christians in preserving Russia from foreign warriors.
Written by the Apostle Luke on the tabletop of the Holy Family. Saved Moscow from the invasion of Tamerlane. At Soviet power exhibited at the Tretyakov Gallery.
"Tikhvin" Mother of God
This image, according to legend, was written by the evangelist and apostle Luke. He miraculously appeared near the city of Tikhvin. Particularly remarkable among the many miracles revealed by the image was the salvation of the Tikhvin monastery during the Northern War in 1613.
"Three-handed"
So named after a miracle that happened to St. John of Damascus. His severed hand grew back into place through prayer at the image of the Mother of God. In honor of this event, a silver hand was attached to the frame of the image.
"Unexpected Joy"
Celebrated on May 14 and December 22. The meaning of the image lies in the mercy of the Mother of God even towards unrepentant sinners, leading them to repentance.
The icon is named in memory of the conversion of one lawless man, who, with the Archangel's greeting, asked for a blessing for his lawless deeds.
"Blessed Womb"
In the 14th century it was located in the Annunciation Cathedral of the Kremlin. Glorified by many miracles.
"Annunciation"
The image is dedicated to the twelfth holiday of the same name.
"Blessed Sky"
Celebrated on March 19th. The meaning of the image is that it is in this guise, by assumption, Holy Virgin Mary will descend to earth, preparing people for the second coming of Christ.
The image was brought to Moscow by the Lithuanian princess Sofia Vitovtovna at the beginning of the 15th century.
"Joy of All Who Sorrow"
In 1688, sick Euphemia, a relative of the patriarch, suffering from incurable disease, was miraculously healed in front of this image.
"Upbringing"
Celebrated on March 18th. The significance of the icon is associated with the upbringing of the younger generation in the Orthodox faith.
This is a Byzantine image known for many miracles. Provides assistance to parents and their children.
"Life-Giving Spring"
Celebrated on the fifth day after Easter. They pray for the preservation of prudence and a sinless life.
The icon is named in memory of the holy source of water near Constantinople. In this place, the Virgin Mary appeared to Leo Marcellus and predicted that he would become emperor.
"Deliverer"
Celebrated on October 30th. In 1841 in Greece, a prayer vigil in front of this image miraculously stopped a locust invasion.
The icon was with its family Alexandra III when their train crashed. It was on this day that the name day of the icon began to be celebrated, in commemoration of the salvation of the emperor.
"Key of Understanding"
They pray for children who have difficulty learning. The icon is locally revered and is located in the Nizhny Novgorod region.
Appeared in Russia in the 16th century, related to the image of “Addition of mind”.
"Mammal"
The image was transported to Serbia from Jerusalem by St. Savva in the 6th century.
"Fadeless Color"
Signifies the purity of the Blessed Virgin Mary.
"Otrada"
Celebrated on February 3. It means the great mercy of the Mother of God to sinners, despite even her Son.
The image is associated with a miraculous deliverance from the robbers who attacked the Vatopedi Monastery on Mount Athos.
"Assistant in childbirth"
Helps with difficult childbirth.
"Self-Written"
Locally revered on Mount Athos. It miraculously manifested itself in a pious icon painter from the city of Iasi in 1863.
"Quick to Hear"
Athos icon. From her, a miraculous healing of the disobedient monk’s vision occurred.
"Quiet my sorrows"
Celebrated on February 7th. Relieves mental anguish. Many healings came from her.
Brought to Moscow in 1640 by Cossacks. She poured myrrh in 1760.
"Healer"
Meaning: comfort to the sick. Often decorates hospital churches.
Conclusion
Turning to these icons has always helped Orthodox Christians in difficult moments of life. And now, in modern world, healings and miracles continue. New ones appear miraculous icons Virgin Mary.
The intercession of the Most Holy Theotokos will continue until the end of the history of the human race.
Our Lady on the Throne
Icon attributed to the Cretan school last quarter XVI century
This iconographic type is usually known in Russia under the name of Our Lady of Cyprus, whose miraculous mosaic icon was known in Cyprus at the beginning of the 7th century. In addition, this image is called the Pechersk Mother of God - from the miraculous image in the Kiev Pechersk Lavra. Remarkable translations of this image are also found in the temples of Mystras: Periveleptos (second half of the 14th century) and Pantanassa (early 15th century). This image took root especially widely in the medieval West, where it became the favorite form of sculptural images of the Mother of God. Images similar to our icon are also found among the frescoes and icons of the 16th century. on Athos.
Our Lady on the throne. Sculpture. Beginning of the 14th century Serbia. Sokolitsa Monastery
The icon reproduced here is a solemn image of the Mother of God, sitting on a throne and holding the Child Christ directly in front of Her on her knees, whom She holds with her left hand at the shoulder, with her right at the foot. The Child is depicted in the pose of the Almighty: blessing right hand, and with the left holding a scroll resting on the knee. Archangel Michael approaches from the sides, bowing, on the left side of the viewer, and Archangel Gabriel on the right. Along the sides of the icon, in the so-called stamps, where family or especially revered saints are usually placed, as well as scenes from Sacred History and from the lives of saints, are located in the top row: Annunciation, Crucifixion, Descent from the Cross, Descent into Hell. On the viewer's left side there are icons from top to bottom: John the Baptist, the Apostle Peter, the Great Martyr George and the Great Martyr Catherine; With right side: John the Theologian, Apostle Paul, Great Martyr Demetrius of Thessaloniki, St. Anthony the Great. At the bottom of the icon: St. Gregory the Theologian, St. John Chrysostom, St. Constantine and Helen, St. Basil the Great and St. Nikolai.
Our Lady and Child with angels. Mosaic from the Church of Sant'Apollinare Nuovo. Ravenna. VI century
The Cretan school to which this icon is attributed dates back to the 14th century. Being in the XIV–XV centuries. a purely provincial phenomenon (as evidenced by the paintings in Crete), after the fall of Constantinople in 1453, she became his main successor and began to play big role, especially in the 16th century, but already widely using borrowings from the West.
Reproduced on p. 142 icon is one of the best examples of icon painting of this school known to us and shows that individual masters even at the end of the 16th century. adhered to the iconographic canon. The majestic and strict pose of the Mother of God with the equally majestic Youth Christ, sitting on Her knees as on a throne, sharply contrasts with the poses of the angels, bending with their hands extended in prayer to the Mother of God. The superiority of the Mother of God over them as “the highest of all Angels and Archangels and of all the most honest creatures” is emphasized here by the size of Her figure - larger than the figures of angels.
Our Lady of Pechersk (Svenskaya). Russia. 1288 (?). Tretyakov Gallery
The figures of saints depicted on the sides of the icon breathe no less solemnity. This somewhat official solemnity, which was characteristic of the strict hierarchy of the Byzantine Empire, is further emphasized here by the pronounced linearity and dry, detailed interpretation of the form, giving, especially to the clothes of the saints depicted on the sides of the icon, a somewhat metallic character. These properties, inherited by the Cretan school from the last period of Byzantine art, are its characteristic features. But these features, which give the image a certain coldness, do not at all violate the overall unity of the icon, which makes a strict and strong impression.
Our Lady of Tenderness. Second half of the 14th century. Annunciation Cathedral of the Moscow Kremlin
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From the book Avatars of Shambhala by Marianis AnnaSecrets of the last battle WHAT IS ARMAGEDDON Actually, the battle between Good and evil on our planet took place constantly throughout history, starting from the moment of the very appearance of evil on Earth - namely, the spiritual fall of the once brilliant Lucifer and his transformation
From the book Legends of the Russian Templars author Nikitin Andrey Leonidovich10 About the throne One day, a conversation began between the Knight Templar and the Knights of Malta about the past of both traditions. The Knight Templar pointed out that the Maltese had lost everything valuable that they had before. They objected: “But we don’t know what valuable things you have, you have nothing to boast about.” The Knight
From the book Masonic Testament. Hiram's Legacy by Knight ChristopherTHE FAILURE OF THE LAST RELIGION In the minds of many, Solomon's reign was a time of triumph for the Jewish people, but in reality it was not. His construction program is impressive, but was too shocking and costly, beyond the limits of real financial resources only
From the book Big Plan for the Apocalypse. Earth on the threshold of the End of the World author Zuev Yaroslav Viktorovich From the book of 7000 conspiracies Siberian healer author Stepanova Natalya IvanovnaFrom being picked on at school or at work If a person is endlessly picked on at school or at work, you should read this plot 12 times in a row: Father, Son and Holy Spirit, Heavenly Grace of God, come down, come to me, servant of God (name), glory and praise, multiply, with every God
From the book Master of Treason author Platonov Oleg AnatolievichComposition of Masonic lodges late XVIII- first quarter of the XIX century Half of the members of the Masonic lodges operating in Russia were foreigners (visitors or in Russian service). And if you take into account all the people foreign origin, as well as all those not related to
From the book Yoga of Insight author Nikolaeva Maria VladimirovnaAjna is the last to open... The yogi, who has strengthened his breathing between the eyebrows before death, devotedly contemplating the Lord, truly reaches God! Bhagavad Gita (8.10) It is useless to work with Ajna if you have not worked lower centers. It is precisely attempts to “open the third eye” without any
From the book The Meaning of Icons author Lossky Vladimir NikolaevichIcon of the Mother of God of the Sign Icon of the late 16th century. The Icon of the Sign belongs to the most revered icons of the Mother of God. This image with characteristically raised arms belongs to the iconographic type of Oranta, but with Christ on the chest. Gesture of prayer, raised hands, characterizing
From the book Magic for Every Day from A to Z. A detailed and inspiring guide to the world of natural magic by Blake DeborahOur Lady Hodegetria The iconographic type of Our Lady Hodegetria (? ?????????) has several prototypes dating back to ancient times. Byzantine tradition traces it to the image painted by St. Evangelist Luke. According to this narrative, the Mother of God Herself
From the book The ABC of Happiness. Book I. “The Main Thing About Man” author Lada-Rus (Peunova) SvetlanaKorsun Icon of the Mother of God Tenderness Icon of the Moscow school of the 16th century, 26?19.5 cm Title Korsun icon The Mother of God comes from the city of Korsun, which means ancient Kherson, or Chersonesus, a Greek trading port in the Crimea near Sevastopol, in which, according to
From the author's bookBaptism of the Lord Icon attributed to the Moscow school, 16th century. And rising from the water, he saw the heavens parting and the Spirit descending like a dove. And a voice came from heaven: You are My beloved Son, in whom I am well pleased (Mark 1:10–11; from the Gospel opening, read at Matins
From the author's bookQuarters At the beginning of the ritual we call upon the four elements - Earth, Air, Fire and Water - to join our circle. We call them four quarters or watchtowers (one item, different names– sorry, I didn’t mean to confuse you). As follows from
From the author's bookChapter Eight “They teach at school, they teach at school, they teach at school...” A certain young man asked the Sage to teach him how to govern the state. The sage said: “Willingly, but first I will appoint you as the ruler of my heart. When you have mastered this kingdom, then you will come to me.” Eastern parable Chemu
