I. Kuprina

Introduction 3

History of Russian icon painting 4

How icons were painted in Ancient Rus' 9

History of the origin of icon painting technique 12

The color scheme of ancient Russian icons and its meaning 15

Andrey Rublev and his "Trinity" 17

Psychology icons. 21

Conclusion 23

References. 25

Introduction

I'm in the temple. I look at the icon, into the tender, mourning eyes of the Mother of God, and I understand that we are so far from Her mysterious world... Purity is what is associated with the words “temple”, “icon”. It is this feeling of cleanliness that is sorely lacking in everyday life. But beauty is nearby! But for some reason we pass by, not seeing, not noticing, not wanting to notice or inquire...

What do we know about icons? Why are they needed? Who were the people who wrote them, what did they think about, how did they live? If we start looking for answers to these questions, then our traditional ideas about icon painting will radically change, moreover, a whole new world will open up. I was convinced of this while preparing this essay. An icon is the fruit of the soul of enlightened people, and it carries their light, the light of heaven. This is more than dividing icon painting into schools, searching for any features and differences, but nevertheless, it is worth talking about this aspect of the genre in order to freely navigate the world of icons, understand them better, and become a little closer. This is the purpose of my review.

History of Russian icon painting

Now we are talking about icon painting as something native, primordially Russian, we consider this genre almost a folk art form. Has it always been like this? For many it will be surprising to learn that “our” icon was invented far from the Russian fields - in Byzantium.

The art of Byzantium, ascetic and stern, solemn and refined, does not always reach that spiritual height and purity that is characteristic of the general level of Russian icon painting. It grew and was formed in the struggle, and this struggle left its mark on it. Byzantium (although it also adopted the achievements of Roman culture) is mainly the fruit of ancient culture, the rich and varied heritage of which it was called to churchize. On this path, in connection with her inherent gift of deep, sophisticated thought and words, she churched everything that related to the verbal language of the Church. She gave great theologians; she played a large role in the dogmatic struggle of the Church, including a decisive role in the struggle for the icon. However, in the image itself, despite the height of artistic expression, there often remains a certain touch of the ancient heritage that has not been completely outlived, which makes itself felt to a greater or lesser extent in different refractions, affecting the spiritual purity of the image. The development of church art on Byzantine soil in general “was associated with a number of protracted crises, renaissances of the ancient classics...” In essence, these renaissances of the ancient classics were nothing more than echoes in the field of church art of the general process of churching to which all aspects of the ancient world were subjected worldview. In this process of influence into Christianity, into the Church, many things came into being that were not subject to churching and therefore could not be churched, but left their mark on church art. This is what the “renaissances” did, introducing into art the illusory and sensuality of ancient art, completely alien to Orthodoxy.

On the contrary, Russia, which was not connected by the entire complex of ancient heritage and whose culture did not have such deep roots, reached an absolutely exceptional height and purity of image, with which Russian icon painting stands out from all the branches of Orthodox icon painting. It was Russia that was given the opportunity to demonstrate the perfection of the artistic language of the icon, which greatest strength revealed the depth of the content of the liturgical image, its spirituality. We can say that if Byzantium gave the world primarily theology in word, then theology in image was given by Russia. In this sense, it is characteristic that until the time of Peter the Great there were few spiritual writers among the saints; but many saints were icon painters, from simple monks to metropolitans. The Russian icon is no less ascetic than the Byzantine icon. However, her asceticism is of a completely different order. The emphasis here is not on the severity of the feat, but on the joy of its fruit, on the goodness and lightness of the Lord’s burden, which He Himself speaks of in the Gospel read in the days of the holy ascetic monks: “Take My yoke upon you and learn from Me, for I gentle and lowly in heart, and you will find rest for your souls, for My yoke is easy and My burden is light.” The Russian icon is the highest expression in art of god-like humility. Therefore, despite the extraordinary depth of its content, it is childishly joyful and light, full of serene peace and warmth. Having come into contact through Byzantium with ancient traditions, mainly in their Hellenic basis (in their Roman adaptation), Russian icon painting did not succumb to the charm of this ancient heritage. She uses it only as a means, churchizes it to the end, transforms it, and the beauty of ancient art finds its true meaning in the transformed face of the Russian icon.

Together with Christianity, Russia received from Byzantium at the end of the 10th century an already established church image, a doctrine formulated about it, and a mature technique developed over centuries. Its first teachers were visiting Greeks, masters of the classical era of Byzantine art, who from the very beginning, in the paintings of the first churches, such as the Kyiv Sophia (1037-1161/67), used the help of Russian artists. The activities of the disciples of the Greeks, the first famous Russian holy icon painters, the monks of the Kiev Pechersk Monastery, the Monk Alypius (Alympius) (about 1114) and his collaborator St. Gregory also date back to the 11th century. St. Alypius is considered the founder of Russian icon painting. From childhood, he began to study icon painting with visiting Greek masters, then became a hieromonk, he was distinguished by tireless hard work, humility, purity, patience, fasting and love of thinking about God. “You were never upset at those who insulted you; you repaid evil for evil,” they sing to him in a church hymn. (Troparion 8th tone. Canon to the saint.) This was one of the ascetic ascetics who glorified the Kiev-Pechersk Lavra. In the person of St. Alypius and Gregory, Russian church art from the very beginning of its existence was directed by people enlightened by the direct knowledge of Revelation, of whom Russian icon painting subsequently had so many. The Kiev period of Russian church art can be judged mainly by frescoes and mosaics. The Mongol invasion, which swept through most of Russia around the middle of the 13th century, not only destroyed a lot, but also significantly undermined the painting of new icons. The surviving open icons of this period, of which there are very few, date back to the end of the 11th, 12th and 13th centuries, and almost all of them are attributed with greater or less certainty to Novgorod, the origins of whose art also go back to the 11th century.

Icons of the pre-Mongol period are characterized by exceptional monumentality, characteristic of wall painting, under the influence of which Russian icon painting dates back to the 14th century, and laconicism of artistic expression both in composition and in figures, gestures, folds of clothing, etc. Their coloring, in which Dark tones predominate, restrained and gloomy. However, already in the 13th century, this gloomy coloring begins to give way to characteristically Russian flowery and bright colors. There is more internal and external dynamics, a tendency towards greater flatness. Early icons, even if they have Russian features, are still more or less dependent on Greek models. It can be said that the 12th century is marked by the assimilation of the principles and forms of church art adopted from Byzantium, which in the 13th century already appear in the national Russian refraction, which found its final expression in the 14th century. The icons of this period are distinguished by their freshness and spontaneity of expression, bright colors, sense of rhythm and simplicity of composition. The work of the famous holy icon painters - Metropolitan Peter of Moscow (1326) and Archbishop of Rostov Theodore (1394) - dates back to this period. .

The 14th, 15th and first half of the 16th centuries represent the flowering of Russian icon painting, coinciding with the flowering of holiness, and specifically reverence, which sharply declines in the second half of the 16th century. This time produces the largest number of glorified saints, especially the 15th century: from 1420 to 1500, the number of glorified saints who died during this period reaches 50 people.

The boundary between the 14th and 15th centuries is associated with the name of the greatest icon painter, St. Andrew(Rublev), who worked with his friend Rev. Daniil (Cherny). The extraordinary depth of the spiritual insight of St. Andrew found its expression through a completely exceptional artistic gift. The second half of the 15th and the beginning of the 16th centuries are associated with another brilliant master, whose name was placed next to the name of the Monk Andrew - Dionysius, who worked with his sons. His work, drawing on the traditions of Rublev, represents a brilliant completion of Russian icon painting of the 15th century. This period marks great perfection of technology, sophistication of lines, sophistication of shapes and colors. Dionysius himself, whose work is imbued with a special cheerfulness, is characterized by elongated, refined proportions of figures, emphasized grace of movements, flexible, strong and smooth drawing. Its pure color with delicate green, pink, blue and yellow tones is particularly musical.

The 16th century preserves the spiritual richness of the image; The colorfulness of the icon remains at the same height and even becomes richer in shades. This century, like the previous one, continues to produce wonderful icons. However, in the second half of the 16th century, the majestic simplicity and classical proportionality of the composition, which had held for centuries, began to waver. Wide plans, a sense of monumentality of the image, classical rhythm, antique purity and power of color are lost. There is a desire for complexity, virtuosity and overload with details. The tones darken, fade, and instead of the previous light and light colors, dense earthy shades appear, which, together with gold, create the impression of lush and somewhat gloomy solemnity. This is a turning point in Russian icon painting. The dogmatic meaning of the icon ceases to be recognized as the main one, and the narrative point often acquires a dominant meaning.

How icons were painted in Ancient Rus'

Icon painting in Ancient Rus' was a sacred matter. Strict adherence to canonical instructions, on the one hand, impoverished the creative process, since it limited the possibilities of self-expression of the icon painter, since the iconography of the image, as a rule, was already given, but, on the other hand, it forced the artist to focus all his skill, all his attention on the essence " spiritual object", on achieving deep penetration into the image and recreating it with exquisite visual means.

Traditions and established techniques affected not only iconography, but also the choice of material on which icons were painted, the substance of the soil, the method of preparing the surface for painting, the technology for making paints and, finally, the sequence of writing.

When painting icons in Ancient Rus', paints were used in which the binding medium was an emulsion of water and egg yolk - tempera.

Icons were most often painted on wooden boards. Usually they took boards from linden, in the North - from larch and spruce, in Pskov - from pine.

The board, as a rule, was hewn out of a log, choosing the strongest inner layer of the tree trunk. This process was labor-intensive and lengthy.

Boards for icons were made by woodworkers or woodworkers, and rarely by icon painters themselves. A shallow recess was usually made on the front side of the board - an ark, bounded along the edges of the board by fields slightly rising above it. For small icons one board could be used. For large icons, several boards were connected. The nature of the fastening, the depth of the ark and the width of the fields often make it possible to determine the time and place of manufacture of the icon board. The fields of ancient icons of the 11th-12th centuries are, as a rule, wide, and the ark is deep. Later icons have narrow margins, and from the 14th century icons were sometimes painted on boards without borders.

The primer used was gesso, which was made from chalk or alabaster and fish (sturgeon) glue. The icon board was coated several times with liquid hot glue, then the pavolok was glued on, rubbing it in with the palm of the hand. After the pavolok had dried, gesso was applied. The gesso was applied in several stages, in layers. The surface of the gesso was carefully leveled and sometimes sanded. Sometimes relief was applied to the gesso. In ancient icons, starting from the 12th century, “chasing” was often done on gilded gesso. Sometimes such patterned embossing was done on halos. In later times (from the 16th century), to create an in-depth (or relief) pattern, gesso carving was carried out before writing began. Then the relief was gilded.

A drawing was made on the prepared soil surface. First, the first drawing of the images was performed, and then the second, more detailed one. The first drawing was done by lightly touching soft charcoal from birch branches, the second - with black or brown paint.

Some icons were reproduced from “originals” or from copybooks obtained from icons that served as samples.

After this, the actual writing began. At first, everything that was required was gilded: the fields of the icon, lights, crowns, folds of clothing. Then pre-letter writing was done, that is, clothes, buildings, and landscapes were painted. At the final stage of creating the icon, the faces were painted. The finished image was covered with a special kind of oil varnish - “oiled”.

The work with paints was carried out in a strictly defined sequence. Both the icon writing and its sequence were not the same in different icon painting schools and changed over time.

First, the areas limited by the contours of the design were covered with thin layers of appropriate paints in the following order: background (if it is not gold), mountains, buildings, clothes, exposed parts of the body, faces. After this, whitening was done, which highlighted the convex details of objects (except for faces and hands). Gradually adding white to the paint, smaller and smaller areas of highlighting were covered. The final touches were applied with pure white.

To create greater volume of the image, a thin layer of dark paint was applied to the darkened and recessed areas. After dark paint, all facial features and hair were drawn in thin lines.

Then light highlights were applied to the convex parts of the face: forehead, cheekbones, nose, strands of hair using white or ocher with a large addition of white. Then the “blush” was applied. A thin layer of red paint was applied to the lips, cheeks, tip of the nose, in the corners of the eyes, and on the earlobes. After this, the pupils of the eyes, hair, eyebrows, mustache, and beard were drawn in with liquid brown paint.

The guidelines for painting icons were samples - “originals”. The originals contained instructions on how this or that image should be painted.

Tempera painting requires virtuoso technique and a high level of writing culture. This was achieved over many years of apprenticeship. Icon painting was a great creativity. The iconographer specially prepared to carry out the “work of icon-making.”

This was an act of communication with another world and required spiritual and physical cleansing, when everything carnal was suppressed if possible: “... when he painted the holy icon, he touched food only on Saturdays and Sundays, not giving himself rest day and night. He spent the night in vigil, prayer and prostrations. During the day, with all humility, non-covetousness, purity, patience, fasting, love, and meditation on God, I devoted myself to icon painting.”

Successfully painted images were considered to have been painted not by an icon painter, but by God. Very few names of ancient Russian artists have survived. After all, it was believed that God himself painted the icon with the hands of icon painters, and therefore it seemed inappropriate to name the name of the person whose hands God used.

On the other hand, icon painting was truly an intimate communication with another world, and there was no need to name oneself: after all, God himself knows the one who creates the image, or rather, prayerfully and humbly tries to reproduce the prototype.

Unfortunately, oil varnish - drying oil darkens over time, and approximately eighty years after application, the varnish film on the icon becomes black and almost completely covers the painting. The icons had to be “renewed”. A new painting was applied, which, according to the artist’s plan, was intended to restore what was hidden under the blackened drying oil. Ancient icons were painted layer by layer. Sometimes a new, different image was painted.

The history of the emergence of icon painting techniques

Installing the dowels and making the ark are the last stages in making the icon board; however, the board is not yet ready for painting. The painting layer is applied to a primer consisting of chalk powder, or alabaster and wood glue. The application of such primer is preceded by gluing the board and gluing the pavolok. Gluing is the impregnation of the surface layer of a board with hot, liquid glue. The pavoloka, which is glued after gluing, is a rare fabric, like gauze. The features of these stages changed over time, but these changes did not have any pattern, therefore, when determining the time of painting the icon, one should not rely entirely on the features of the location of the pavolok. In addition, any conclusions about the condition of the pavolok can be made only in the absence of part of the soil when the pavolok is visible.

Almost all ancient icons have pavolok, and the entire front surface of the board is covered with it.

Before moving on to a detailed description of the stages of gluing and gluing pavolok, we will dwell on the history of the emergence of this method of preparing boards for painting. From the above descriptions of the stages of manufacturing and processing an icon board, it is clear that this work is quite complex and must be performed by a qualified craftsman. The same can be said about gluing boards, gluing pavolok and priming. In addition, in addition to their complexity, these stages require a strict sequence of execution and precise adherence to the proportions of the materials used (adhesive concentration, ratio of soil components).

Why did the ancient icon painters choose this particular technique, which required sufficient knowledge and skills?

As you know, the first icons appeared in the East. In Palestine, Egypt, Syria. In these places, at the time of the appearance of the first icons, tempera painting using glued wood with pavolok and chalk soils as a basis could already be considered traditional. For example, in Egypt, 3000 years before the birth of Christ, many sarcophagi were made of wood, covered with fabric, primed and painted with tempera paints.

It is worth mentioning that the composition of the soil used 5000 years ago was almost no different from the composition of the current soil used in icon painting. In the first centuries of Christianity, these sarcophagi were already considered ancient history, and the first icon painters could personally verify the reliability and durability of the works created using such a painting technique. The holiness of the iconographic image requires the use of a reliable base, which is why a board glued with glue, with pavolok and chalk soil was chosen as the base. Paintings made on this basis can last for hundreds of years. The first icon painters were convinced of this by the example of ancient Egyptian sarcophagi, we can be convinced of this by the example of ancient icons.

Even much later, when the oil paint technique was invented, icons continued to be painted on boards. However, tempera painting was gradually replaced by oil painting. At first, the composition of the soil changed. The changes consisted of adding drying oil, or vegetable oil, to the soil if the painting was done with oil paints. At an even later time, tempera was finally replaced by a technique using oil paints and icons began to be painted, like secular paintings, on canvas.

The color scheme of ancient Russian icons and its meaning

The Byzantines believed that the meaning of any art was beauty. They painted icons, shining with gilding and bright colors. Each color had its own place, its own meaning. The colors were never mixed, they were light or dark, but always pure. In Byzantium, color was considered as important as a word, because each of them had its own meaning. One or more colors created a speaking image. Studying from the Byzantines, Russian icon painters accepted and preserved the symbolism of color. But in Rus' the icon was not as magnificent and austere as in imperial Byzantium. The colors on Russian icons have become more vibrant, bright and sonorous. The icon painters of Ancient Rus' learned to create works that were close to local conditions, tastes and ideals.

Gold color

The golden shine of mosaics and icons made it possible to feel the radiance of God and the splendor of the Heavenly Kingdom, where there is never night. The golden color signified God himself. This color shines in various shades on the icon of Vladimir Mother of God.

Purple color

Purple, or crimson, was a very important color in Byzantine culture. This is the color of the king, the ruler - God in heaven, emperor on earth. Only the emperor could sign decrees in purple ink and sit on a purple throne, only he wore purple clothes and boots (this was strictly forbidden to everyone). Leather or wooden bindings of the Gospels in churches were covered with purple cloth. This color was present in the icons on the clothes of the Mother of God - the Queen of Heaven.

Red

Red is one of the most prominent colors in the icon. This is the color of warmth, love, life, life-giving energy. That is why red has become a symbol of the Resurrection - the victory of life over death. But at the same time, it is the color of blood and torment, the color of Christ’s sacrifice. Martyrs were depicted in red robes on icons. The wings of the seraphim archangels close to the throne of God shine with red heavenly fire. Sometimes they painted red backgrounds - as a sign of the triumph of eternal life.

White

White color is a symbol of Divine light. It is the color of purity, holiness and simplicity. On icons and frescoes, saints and righteous people were usually depicted in white as the Righteous - people who are kind and honest, living “in truth.” The same white color shone with the shrouds of babies, the souls of dead people and angels. But only righteous souls were depicted in white.

Blue and cyan colors

Blue and cyan colors meant the infinity of the sky, a symbol of another, eternal world. Blue color was considered the color of the Mother of God, who united both earthly and heavenly. The paintings in many churches dedicated to the Mother of God are filled with heavenly blue.

Green

Green color is natural, living. This is the color of grass and leaves, youth, blossoming, hope, eternal renewal. The earth was painted with green; it was present where life began - in the scenes of the Nativity.

Brown

Brown is the color of bare earth, dust, everything temporary and perishable. Mixed with the royal purple in the robes of the Mother of God, this color recalled human nature, subject to death.

Black

Black is the color of evil and death. In icon painting, caves - symbols of the grave - and the yawning abyss of hell were painted black. In some stories it could be the color of mystery. For example, on a black background, signifying the incomprehensible depth of the Universe, the Cosmos was depicted - an old man in a crown in the icon of the Descent of the Holy Spirit. The black robes of monks who have retired from ordinary life are a symbol of the renunciation of former pleasures and habits, a kind of death during life.

A color that has never been used in icon painting is grey. Having mixed black and white, evil and good, it became the color of obscurity, emptiness, and nothingness. This color had no place in the radiant world of the icon.

Andrei Rublev and his "Trinity"

The work of Andrei Rublev is the most striking manifestation of the churched ancient heritage in Russian icon painting. All the beauty of ancient art comes to life here, enlightened by a new and genuine meaning. His painting is distinguished by youthful freshness, a sense of proportion, maximum color consistency, enchanting rhythm and music of lines. The influence of St. Andrew in Russian church art was enormous. Reviews of him were preserved in icon painting originals, and the Council, convened to resolve issues related to icon painting, in 1551 in Moscow by Metropolitan Macarius, who was himself an icon painter, adopted the following resolution: “The painter should paint icons from ancient models, as Greek painters wrote and as Andrei Rublev and other notorious painters wrote." The destruction of his icons was recorded in the chronicles as events of great importance and social significance. The work of St. Andrew leaves its mark on Russian church art of the 15th century, during which it reaches the pinnacle of its artistic expression. This is the classical era of Russian icon painting. The masters of the 15th century achieved extraordinary perfection of mastery of line, the ability to fit figures into a certain space, and find an excellent relationship between the silhouette and the free background. This century largely repeats the previous one, but differs from it in greater balance and mood. Exceptional, all-permeating rhythm, extraordinary purity and depth of tone, strength and joy of color give a full expression of the joy and tranquility of mature artistic creativity, combined with an exceptional depth of spiritual insight.

The plot of "Trinity" is based on the biblical story of the appearance of deity to Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the Mamre oak, and Abraham was given to understand that the deity in three persons was embodied in the angels. Since ancient times, there have been several options for depicting the Trinity, sometimes with details of the feast and episodes of the slaughter of the calf and the baking of bread (in the gallery’s collection these are 14th-century Trinity icons from Rostov the Great and 15th-century icons from Pskov).

In the Rublev icon, attention is focused on the three angels and their condition. They are depicted seated around a throne, in the center of which is a Eucharistic cup with the head of a sacrificial calf, symbolizing the New Testament lamb, that is, Christ. The meaning of this image is sacrificial love.

Left angel, meaning God the Father, right hand blesses the cup. The middle angel (Son), depicted in the gospel clothes of Jesus Christ, with his right hand lowered onto the throne with a symbolic sign, expresses submission 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 (the Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming the high meaning of sacrificial love, and comforts 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 the image of the Eucharist (the Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established at it (communion with bread and wine as the body and blood of Christ). Researchers emphasize the symbolic cosmological significance of the compositional circle, into which the image fits laconically and naturally. In the circle they see a reflection of the idea of ​​the Universe, peace, unity, which embraces plurality, cosmos. When comprehending the content of the Trinity, it is important to understand its versatility. The symbolism and polysemy of the images of the “Trinity” go back to ancient times. For most peoples, such concepts (and images) as a tree, a bowl, a meal, a house (temple), a mountain, a circle, had a symbolic meaning. The depth of Andrei Rublev's awareness in the field of ancient symbolic images and their interpretations, the ability to combine their meaning with the content of Christian dogma, suggest a high level of education, characteristic of the enlightened society of that time and, in particular, of the artist’s likely environment.

The symbolism of the “Trinity” is correlated with its pictorial and stylistic properties. Among them vital importance has color. Since the contemplated deity was a picture of the heavenly heavenly world, the artist, with the help of paints, sought to convey the sublime “heavenly” beauty that was revealed to the earthly gaze. The painting of Andrei Rublev, especially the Zvenigorod rank, is distinguished by a special purity of color, nobility of tonal transitions, and the ability to impart a luminous radiance to the color. Light is emitted not only by golden backgrounds, ornamental cuts and assists, but also by the gentle melting of light faces, pure shades of ocher, and the peacefully clear blue, pink and green tones of the angels’ clothes. The symbolism of color in the icon is especially noticeable in the leading sound of blue-blue, called Rublevsky cabbage roll.

Comprehending the beauty and depth of content, correlating the meaning of the “Trinity” with the ideas of Sergius of Radonezh about contemplation, moral improvement, peace, harmony, we seem to come into contact with the inner world of Andrei Rublev, his thoughts translated into this work.

The icon was in the Trinity Cathedral of the Trinity Monastery, which later became a monastery, until the twenties of our century. During this time, the icon underwent a number of renovations and copy-pasting. In 1904-1905, on the initiative of I.S. Ostroukhov, a member of the Moscow Archaeological Society, a famous collector of icons and trustee of the Tretyakov Gallery, the first thorough clearing of the Trinity from later records was undertaken. The work was supervised by the famous icon painter and restorer V.P. Guryanov. The main notes were removed, but the writings were left on the inserts of the new gesso, and in accordance with the restoration methods of that time, additions were made in places of loss that did not distort the author's painting.

Psychology icons.

The faces of saints on icons are faces, that is, the faces of those who are outside of time, who are in eternity. And that is why individual facial features, understood as random attributes of temporary earthly life, are left only as signs necessary for recognition. The face is a face that has been freed from the seal of worldly passions and idle worries and has acquired the status of a visible symbol of the accomplished spiritual transformation.

One or another saint can be recognized or distinguished only by a canonized set of signs (book, clothes, beard, mustache, etc.). This set is a kind of iconographic constant, a code that is reproduced and repeated without changes when a given saint is depicted on different icons in different eras.

But icons do not glorify the flesh, as the art of pagan antiquity did. They recreate only those visible features that express the invisible properties of the Prototype, such as humility, kindness, tolerance, non-covetousness, meekness.
As one of the church fathers, Gregory of Nyssa, said: “Divine beauty is not manifested in any external form and not in the charm of an external image, determined by any elegance of colors, but is seen in ineffable bliss in accordance with virtue.”

Icon painters and illustrators of ancient handwritten Christian books were convinced of the imperfection of human vision, which cannot be trusted because of its carnal nature, and therefore considered it obligatory for themselves to try to depict the world not as they see it, but as it really is . The question of what the world really is like could only be resolved speculatively, when not the experience of earthly bodily life, but the dogmas of faith, are accepted as an axiom.

Those who look for external beauty in an icon are mistaken. Church creativity has a slightly different understanding of beauty. Spiritual beauty is higher than physical, and the goal of Christian life is to ascend to the Primary Source of beauty - God. Nature is one of the means of knowing God; through the contemplation of its beauties, man is called to glorify God the Creator and create the beauty of his inner image, growing and being renewed in Christ into a new creation, transformed, redeemed for the new, Eternal Life in Christ. But it is very difficult for a person to think spiritually in earthly conditions, and the Church has established some kind of mediation, like a bridge from the material to the spiritual world, creating a symbol - a visual image of the truths of faith, and at the same time developing special forms, unique to it. This is an ancient icon. Therefore, before the icon, “we do not worship the written face in prayer, but ascend to the Prototype.”

The language of an icon is the same as a letter. The child is first taught to write individual letters, then is given the opportunity to copy from a book, then to write an exposition and, finally, an essay. Likewise, icon painting has its own literacy, its own school, its own sequence of work, through which the student is given special knowledge, special training and special education. The program and gradual training are also traditional and proven by the experience of many generations.

“As a kind of revelation of God, as the fruit of spiritual experience, as the tradition and creation of the Fathers of the Church, as their testimony to eternity, the ancient icon bears all the features of heaven: undistracted prayerful composure, the depth of the mysteries of faith, harmony of the spirit, the beauty of purity and dispassion, the greatness of humility and simplicity , fear of God and reverence. Before it, the passions and vanity of the world subside; it rises above everything in a different plane of existence. The icon is a great shrine both in content and in form. Some icons were painted with the finger of God, some were carried by Angels. them from place to place (Tikhvin Icon of the Mother of God, etc.); many remained unharmed during the fires; some, being pierced by spears and arrows, shed blood and tears, not to mention countless other signs, such as healings and the rest of the Gospel. preaches the Kingdom of God in word, the icon communicates the same thing in image."

Conclusion

The icon - an expression of the light of heaven - is now emerging from oblivion. Should this be seen as a manifestation of cultural revival? Maybe. You just need to remember that the main “revival of culture” occurs in each of us, inside, and not outside. For centuries, icons have been a real help for the Russian people. In difficult moments of history (and they are always difficult!) It was the icons that did not allow people to lose heart, since they were the embodiment of what is truly Russian, they reminded us of our unity, that our cause is just, and that we have great power behind us. But isn’t the most important thing to remember about this? Isn't success dependent on this? So let the icon as a phenomenon be reborn to again show its great power. Miraculous power!

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Zamyatina N. A. Terminology of Russian icon painting. 2nd ed.// - M.: Languages ​​of Russian culture, 2000. – p.272-276

Kondakov N.P. Visual means of the Orthodox icon and their symbolism//Internet resource: www.liturgy.ru

Icons of Andrei Rublev // Internet resource: www.voskres.orthodoxy.ru/rublev

Luke, Theophanes the Greek, Andrei Rublev, Alypiy Pechersky.

When was the first icon painted? Who was the first icon painter? What was the first icon? What material was it made of? There is no exact answer to all these questions, and most likely there never will be. There are only hypotheses that have come down to us from time immemorial, but they do not prove anything at all. It so happened that history considers the first creator of the icon to be Apostle Luke, who created the image of the Mother of God during the earthly life of Jesus Christ.

The word icon comes from ancient Hellas, it means the image of the one who is depicted on it. An icon is an image of a saint to whom a believer’s prayer is addressed, because the main purpose of an icon is to remind one of prayer, to help accomplish it with soul and body, and to be a guide between the person praying and the image of the Saint. The spiritual eyes of a believer are so undeveloped that he can only contemplate the Heavenly world and those living in it with his physical eyes. Only after having traveled the spiritual path sufficiently can visions of the heavenly powers be revealed to his gaze. And in history there are many facts when the Saints themselves appeared to ascetics as if in reality.

Prayer is a frank conversation with the Lord, which always helps, but this help can come both immediately and after many years. But always and everywhere, prayer before the image on the icon helps the believer to understand finding the truth in the state of grace that he experiences during and after prayer. After sincere prayers, insight comes, and peace and harmony comes into a person’s life.

IN modern society Many consider icons to be luxury items; they are collected and displayed at exhibitions for public viewing. But an icon is not just a beautiful and valuable thing. For a true Christian, it is a reflection of his inner world - the world of the soul. That is why, in everyday worries or in rage, one glance at the icon is enough to remember the Lord.

From the time of the emergence of Christianity to the present day, many believers have tried to create icons. For some, it worked out better, for others not so much, but all the time, humanity admires the beauty of various icons, their miraculous and healing power. In the history of mankind, at different times and in different centuries, masters of icon painting lived and worked, creating unique icons, spiritual images that are pearls of the spiritual and historical heritage. This article talks about some famous icon painters from different countries world, about their enormous contribution to the history of icon painting, and accordingly to the spiritual heritage of people.

Evangelist and icon painter Luke (1st century)

Luke - according to legend, is the first to paint an icon. According to legend, it was an icon of the Mother of God, after which the icon painter created an icon of the Holy Apostles Peter and Paul. The future evangelist and icon painter was born into a noble family of Greek pagans. Holy Scripture reports that Luke lived to a ripe old age. During the earthly life of Jesus Christ, he was in his close circle, was an eyewitness to the Lord’s death on the cross, and when Christ appeared to him on the way to the village of Emmaus, he was one of the first to witness the Holy Resurrection of the Lord. Luke's earthly life was full of travel, he walked a lot around the world, and everywhere he conveyed to people the word of God and the commandments of Christ. With the blessing of the Lord, he wrote the book “The Acts of the Holy Apostles.” It is believed that the icons of the Mother of God “Vladimir”, “Smolensk” and “Tikhvin” that have survived to this day belong to the brush of St. Luke, but on at the moment there is no evidence of this, but only speculation and hypotheses, because in ancient times signs and signatures confirming authorship were not applied to icons. But regarding the “Vladimir” icon, there are other opinions of famous theologians and icon painting specialists. Firstly, the fact that this icon is the creation of the Evangelist Luke is stated in the Holy Scriptures, and secondly, on many ancient icons the Evangelist Luke is depicted painting the image of the Mother of God, which, according to experts, is very similar to the image of the Virgin Mary on the icon "Vladimir". This spiritual image is extraordinary, natural and unique, and also has miraculous properties. That is why the contribution to the work of icon painting of St. Luke cannot be expressed in words. His work is also priceless because it was the Apostle Luke who was the first to capture and preserve for all centuries the image of the Mother of God, so that descendants would pray to the spiritual image and receive help. The Holy Evangelist Luke is the patron saint of icon painters, so it was appropriate for him to begin creating a new icon.

Alypiy of Pechersk (date of birth - unknown, date of presentation to the Lord - 1114)

At the turn of the 11th and 12th centuries, the Monk Alypius of Pechersk lived and created his wonderful icons. He received his name from the name of the Kiev-Pechersk Lavra, where from a young age he led a monastic life in strict fasting and prayers. Venerable Alypius is rightly considered the first icon painter in Kievan Rus, his creative talent gave impetus to the development of icon painting in Orthodoxy. Alypiy studied the craft of icon painting from masters from distant Greece, who at that time were painting the Pechersk Lavra. One day, the monk Alypius had a vision, so, during the painting of the Lavra, which he observed, the image of the Mother of God was clearly displayed on the altar of the temple. Alypius accepted this wondrous miracle as a sign for icon painting.

According to church tradition, icon painting was easy for the monk Alipius, the icons were created as if by themselves, but in order for them to be unique, Alipius spent a long time and diligently painting them. He created several icons of the Lord and Mother of God. Unique icon“Presta Tsarina” also belongs to the work of Alypius; it is currently located in the Assumption Church of the Moscow Kremlin, which already says a lot. What makes the work of St. Alypius of Pechersk unique and priceless? As it turned out, the icons that the saint created throughout his life have miraculous and healing powers. They do not age, the material from which they are made does not deteriorate, and besides, the images on the icons always remain distinct. During the time of the Bolsheviks, when churches were destroyed and burned, the icons created by Alypiy of Pechersk always remained unharmed. Many theologians believe that the icons have such uniqueness and miraculous power because when the Monk Alypius worked on them, he always read a prayer, which certainly speaks of the holiness of the master icon painter and his creations. Alypius of Pechersk's contribution to the history of icon painting is unique; his icons are found in many churches and monasteries throughout the world. Upon the repose of the Lord, he was canonized as a Saint, and after two centuries, an unknown artist created the icon “St. Alypius the Iconographer of Pechersk,” where the monk is depicted with a brush in his hands and an icon, confirming that he was and forever remained a skilled icon painter.

Theophanes the Greek (about 1340-1410)

One of the most famous and talented icon painters of the 14th century is certainly Theophanes the Greek. Born around 1340 in the Byzantine Empire. He traveled a lot and for a long time around the world, visited Constantinople, Caffa, Galata, Chalcedon, where he painted temples, and, as theologians say, monastic monasteries. It is believed that at this time Theophanes the Greek painted more than 40 churches, although there is no evidence of this; all the frescoes and paintings created by the great master, unfortunately, have not survived. Fame, glory and gratitude from his descendants came to the icon painter Feofan after his arrival in Russia. In 1370, he arrived in Novgorod, where he immediately began work in the Church of the Transfiguration. At this time, Theophanes the Greek did a huge job of painting the temple, which has survived to this day. The best survivors are the chest-length image of the Savior Pantocrator in the central dome, as well as the frescoes on the northwestern side of the temple. Anyone can see this unique painting and appreciate the artist’s talent. In addition, in Russia you can see the paintings of Theophanes the Greek in the churches of Moscow and other cities, where he depicted many Saints who are mentioned in Scripture.

Yet the main and unique work of Theophanes the Greek is rightfully considered to be the icons that he created throughout his life. The “Donskaya” icons of the Mother of God, “The Transfiguration of the Lord Jesus Christ on Mount Tabor”, to this day give joy to visitors to the Tretyakov Gallery, as they have been preserved there for many years. Feofan the Greek - made a huge contribution to the development of icon painting, both in Russia and in other countries, because his icons are fascinating, they are beautifully designed and are distinguished by warmth. The icons painted by Feofan are unique, as they were created in a special style, known only to the master who created them. The brushes of Theophanes the Greek are credited with creating the double-sided icon “Our Lady of the Don,” where the other side depicts the Assumption of the Virgin Mary. The painting of the Church of the Archangel Michael in Pereyaslavl-Zalessky also belongs to the great Byzantine icon painter. Already in old age, he took an active part in painting the Annunciation Cathedral of the Moscow Kremlin. Here he worked together with the great Russian artist - icon painter Andrei Rublev and a certain elder Prokhor, who, unfortunately, was known to few people as an icon painter. It is unknown where and when Theophanes the Greek died, presumably his soul went to the Lord - around 1410.

Andrei Rublev (about 1360 - 1430)

The life and work of the great Russian artist is a whole era, maybe even an era in the history of Russian icon painting, when morality and faith in high ideals were revived. Perhaps none of the Russian icon painters did as much as Andrei Rublev did in icon painting. His works show the greatness and depth of Russian icon painting, and also prove the revival of faith in man and the ability to self-sacrifice. Unfortunately, the real name of the icon painter is unknown; he was named Andrei Rublev after his tonsure, when the great future master became a monk. Most likely, the Lord spiritually blessed him to paint icons, because it was with his monastic name that he, Andrei Rublev, became known to the whole world. The icons of this master are extraordinary, they contain beauty and grandeur, expressiveness and splendor, brightness and mystery, grace and elegance, and, of course, healing and miraculous power, deep grace.

It makes no sense to list all the icons created by the master, everyone knows them, but it is worth noting the icons of the Nativity of Christ, the Meeting, the Raising of Lazarus and the Old Testament Trinity. These icons are extraordinary. They have sparkle, irresistible aesthetics and artistic charm. But Andrei Rublev is famous not only for icon painting. Together with the Byzantine master Theophan the Greek, the Russian icon painter painted churches and monastic monasteries. The frescoes created by the hands of Andrei Rublev are unique and differ from the frescoes of many other masters in the extraordinary and unique way they are applied. At the beginning of the 19th century, in the Zvenigorod Savvino-Storozhevsky Monastery, during restoration, three icons were found quite by accident - “Savior”; "Archangel Michael" and "Apostle Paul". After much research, experts came to the conclusion that they were written by Andrei Rublev. The style of writing and the harmony of colors became irrefutable proof of this. Quite accidentally, but deservedly, three more were added to the huge list of icons created by Andrei Rublev. Thank God, the icons painted by the monk icon painter Andrei Rublev have survived to this day, and delight us with their charm, harmony and their miraculous power, and this is not surprising, because according to church belief, angels helped Andrei Rublev create icons.

Creating an icon is not an easy task, and not everyone can do it. The great masters of icon painting created works that could touch the soul of everyone. The power of these masters is the power and grace of the Lord revealed in our world. To become a conductor of the Will and grace of the Lord, you need to be pure in thoughts and feelings. Spiritual exploits, deep constant internal struggle, humility, observance of the commandments and rules of the Church - these are the pillars on which a person’s righteousness is based. This righteousness allows us to convey His heavenly image and light in icons, without distorting or introducing something alien into them, without darkening or overshadowing it.

There is a famous case when Mother Matrona asked a certain icon painter to paint the icon “Recovery of the Dead.” He started it, and a lot of time passed before it was finally done. The icon painter was at times in despair and said that he could not complete it. However, according to Matrona’s instructions, he went to repent, and when it didn’t work out again, he went to repent again until he was completely cleansed. Only after this did his work bring results.

The works of modern icon painters are no less amazing and unique; they are known in all countries of the world. And despite the fact that other countries have different beliefs, the works of our icon painters are valued as works of art, as standards of completeness, harmony, penetrating depth of knowledge, as the ability to convey the “indescribable” in their works.

The art of icon painting came to Rus' from Byzantium after the people of Kiev were baptized in 988 under Prince Vladimir Svyatoslavich.

In Kyiv, after 988, construction began on the first stone church, called Tithes. Construction and interior painting were carried out by invited Byzantine masters.

“Ustyug Annunciation”, beginning of the 12th century. State Tretyakov Gallery. Tretyakov Gallery, Public Domain

Prince Vladimir I Svyatoslavich brought a number of icons and shrines from Chersonese to Kyiv, but not a single one of the “Korsun” icons has survived.

The most famous ensemble of the pre-Mongol period in Kyiv are the mosaics and frescoes of the St. Sophia Cathedral, built in the 11th century by Yaroslav the Wise. The style of both mosaics and frescoes exactly corresponds to the characteristics of Byzantine art of the first half of the 11th century, that is, to the ascetic style.

Important role

For ancient Russian art, the construction and painting of the Assumption Cathedral in the Kiev Pechersk Monastery played an important role. The work was carried out by Constantinople masters in 1073-89.

Tretiakov Gallery, Moscow, CC BY-SA 3.0

The ancient painting, and then the temple building itself, perished. However, a description made in the 17th century has survived, from which the main content of the painting is clear.

The temple itself served as a model for the construction of cathedrals in other cities of Rus', and the iconography of its frescoes was repeated and influenced icon painting.

“Yaroslavl Oranta”, beginning of the 13th century. unknown, Public Domain

Throughout the pre-Mongol period, Greek icon painters continued to be actively invited. It is still very difficult to distinguish between their works and the works of the first domestic masters. The Vladimir-Suzdal Principality used the services of the best Byzantine icon painters.

Surviving ancient icons

The oldest icons in Rus' were preserved in Veliky Novgorod.

Tretjakov Gallery. Tretyakov Gallery, Inv. No. 14907, Public Domain

Several huge icons that were part of the ancient decoration of the temple come from the St. Sophia Cathedral. The icon “The Golden Robe of the Savior,” depicting Christ on the throne in golden robes, is currently in the Assumption Cathedral in Moscow, but only paintings from the 17th century have survived on it.

"Archangel Michael", end of the 13th century Christianity in Art, Public Domain

The icon of the apostles Peter and Paul, kept in the Novgorod Museum along with its ancient frame, is much better preserved.

Another icon located in the Assumption Cathedral in Moscow is double-sided, with the image of the Mother of God Hodegetria and the Great Martyr George (see St. George (icon of the Assumption Cathedral of the Moscow Kremlin)).

A number of Novgorod icons from the 12th - early 13th centuries have been preserved.

The icon of St. Nicholas (Tretyakov Gallery) was also created at the very end of the century and combines monumentality with manneristic features. This is the most Byzantinized icon of Novgorod of that time. On the margins of the icon there are images of saints; this will become a widespread Novgorod tradition.

Preserved and restored ancient icons can be seen in many museums in Russia and abroad. There are many ancient icons in churches, where they are given special veneration.

The work of an icon painter

The icon painting craft has many of its own characteristics and secrets. If the icon is painted on a board, then the surface is prepared and primed.

Then the drawing is outlined. There are several ways to do this, the easiest and fastest of which is to “powder” - placing a sheet of paper with a pattern on the ground, where rows of holes are punched along the contours, and stuffing some (usually red) paint into the powder through these holes.

Now the master gilds the crowns, background and everything that is required with sheets of red gold, and begins to work with paints.

The essence of the plot also has its own order and its own terms: “preliminary” means vestments, chambers, trees, rocks and other accessories of the figurative landscape. Afterwards they write the bodily parts of the figures and faces.

Illuminated places and glare both in clothes and in other accessories of the pre-person are sometimes “bleached out”, i.e. are indicated by golden strokes, for which the so-called “created” gold is used.

Moscow Kremlin, Public Domain

When the painting of the icon is completely finished, and the proper signatures have been made on it (with vermilion or other paint and applied gold), it is covered with linseed oil - special kind oil varnish, giving its surface shine and greater strength.

“Wherever the relics of a saint are and no matter what state of preservation they are in, his resurrected and enlightened body exists in eternity, and the icon, revealing it, thereby no longer depicts the holy witness, but is the witness itself.”

Pavel Florensky

Iconography in our time

Modern icon painting has been going through a very interesting period over the past couple of decades: - what was created over centuries was suddenly wiped off the face of the earth in a few decades.

Georg761, CC BY-SA 3.0

Modern icon painting, many experts believe, has not yet been established as an independent school. For obvious reasons, due to persecution of the church, there was a serious break in this craft, which stopped the development of the Russian school of icon painting.

Modern artists now rely on the old schools, mostly copying ancient works.

Photo gallery

Useful information

iconography

Start

Art developed on the basis of the Orthodox faith and strengthened as the basis of the fine arts of Ancient Rus'. It began at the end of the 10th century, with the baptism of Rus'. Icon painting remained the core of ancient Russian culture until the end of the 17th century, when in the era of Peter the Great it was supplanted by secular types of fine art.

Tithe Church

The Tithe Church has not survived, but archaeological finds allow us to assert that the most important parts of its painting were made using the mosaic technique, and the rest of the temple was decorated with frescoes.

Historical Evidence

Icon painting can be judged by numerous wall paintings, for the execution of which the princes invited the best masters. Along with Christianity, Rus' also received the achievements of Byzantine culture.

First icon painting school

The icon painters who completed the painting remained in the monastery, where they founded an icon painting school. The first famous Russian icon painters came out of it - the Venerables Alypius and Gregory.

Icon size

Unusual for Byzantine art is the gigantic size of the icons intended for the huge temple.

Created gold

Gold leaf is ground into powder and then diluted with gum. In this way, they literally get gold paint. When necessary, they create patterns on clothes, halos around faces and everything that should shine with a special light on the icon.

Living tradition

According to the icon painting workshop Living Tradition, different icon painters from different countries, representing different schools and directions, were asked the question: “why, despite the active revival of icon painting in Russia, almost all modern paintings and icons are technical clones of the most famous ancient ones images?"

Some answers are repetitive, others are extremely original. The bulk of the Russian and American icon painters surveyed complained that the painting technique of modern church artists is not yet perfect enough; some spoke about the interruption of tradition and the difference in teaching methods (in ancient times and in our time). Opinions were also expressed that the root of the problem lies in the loss by our contemporaries of the sense of reality of the presence of what is depicted, and about many other things. I am forced to admit that all the points of view expressed certainly contain a significant amount of truth. Tradition has undoubtedly been interrupted, and modern man lives a different life, in a different space and in different categories than the medieval man. It is now simply technically impossible for us to to the fullest fulfillment of all the requirements presented to ancient icon painters, especially since each priest ordering an icon or fresco in each specific case is guided by his own, sometimes very individual, taste.

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NON-GOVERNMENTAL EDUCATIONAL INSTITUTION

HIGHER PROFESSIONAL EDUCATION

Institute of Tourism Technology

Department of Humanities and Social Sciences

ABSTRACT

By discipline:« Cultural studies»

On the topic: “Development of icon painting in Ancient Rus'”

Pushkino2014

1. Iconography

Iconography is the painting of icons, a type of painting common in the Middle Ages, dedicated to religious subjects and themes.

Russian icon painting is the fine art of Ancient Rus' that developed in the depths of the Orthodox Church, which began at the end of the 10th century with the baptism of Rus'. Icon painting remained the core of ancient Russian culture until the end of the 17th century, when in the era of Peter the Great it was supplanted by secular types of fine art.

An icon as an object of religious worship is an indispensable accessory for everyone Orthodox church. In Ancient Rus', for example, there was a cult of icons as sacred objects. They were worshiped, many legends were told about them, superstitious people believed that the icons were endowed with mysterious powers. They were expected to perform miracles, deliverance from diseases, and help in defeating the enemy. The icon was a mandatory part of not only church decoration, but also of every residential building. At the same time, the artistic quality of the icons was sometimes given secondary importance. icon painting icon ancient Russian painting

The oldest monuments of icon painting date back to the 6th century. Large collections of them are concentrated in monasteries in Sinai (Sinai Peninsula), Mount Athos (Greece) and Jerusalem. Icon painting arose on the basis of the traditions of late Hellenistic art. The initial works - “portraits” of saints - were made using the technique of mosaic (composed of pieces of colored stone), encaustic, then icons were painted with tempera (from the Latin verb “temperare” - to mix), from the 18th century - with oil paints on wooden boards, less often - on metal.

In the 10th - 12th centuries, Byzantium became the center of icon painting. At the beginning of the 12th century, a famous masterpiece was created - the icon of Our Lady of Vladimir, which is still kept in the Tretyakov Gallery. The Byzantine style had a great influence on the painting of Western Europe, Ancient Rus', South Slavic countries, Georgia, which was associated with the spread of Christianity.

Icons were painted on boards, which were fastened with transverse wooden bars - dowels. Canvas was usually pasted onto the board - pavoloku. The pavoloka was covered gesso- a mixture of chalk and glue. The gesso was polished to a shine and painted on with egg tempera - mineral and vegetable paints diluted with yolk. Artists of ancient times used rich blue, green, and cherry colors, which seemed even deeper next to pink and blue shades, bright red and white. And thanks to the combination of these colors with a gold and silver background, the colorful range acquired a special solemnity and sonority. The finished icon was covered with drying oil. The drying oil darkened over time, the icon became covered with dirt and soot, and then it was painted over with a new painting. Some icons were updated three or more times. It is this later painting that restorers have to clear in order to discover ancient writing.

2. Development of icon painting in Rus'

The most famous ensemble of the pre-Mongol period in Kyiv are the mosaics and frescoes of the St. Sophia Cathedral, built in the 11th century by Yaroslav the Wise. The program for painting the temple corresponded to the Byzantine tradition, but contained a number of features. The main dome and altar were decorated with mosaics, of which the image of Christ Pantocrator at the zenith of the dome and Our Lady of Oranta in the vault of the altar are well preserved. The remaining parts of the interior were painted with frescoes. The style of the mosaics, like the frescoes, exactly corresponds to the characteristics of Byzantine art of the 1st half of the 11th century, that is, the ascetic style.

For ancient Russian art, the construction and painting of the Assumption Cathedral in the Kiev-Pechersk Monastery played an important role. The work was carried out by Constantinople masters in 1073-89. The ancient painting, and then the temple building itself, perished. However, a description made in the 17th century has been preserved, from which the main content of the painting is clear. The icon painters who carried out the painting remained in the monastery, where they founded an icon painting school. The first famous Russian icon painters came out of it - the Venerables Alypius and Gregory. Throughout the pre-Mongol period, Greek icon painters continued to be actively invited. It is still very difficult to distinguish between their works and the works of the first domestic masters. The murals and icons are basically similar to contemporary trends in Byzantine icon painting. The works of the Greeks are the paintings of the cathedral of the St. Michael's Golden-Domed Monastery, St. Sophia Cathedral and other early churches of Veliky Novgorod, frescoes of the cathedral of the Mirozhsky monastery in Pskov and the Gergiev Church in Staraya Ladoga. The Vladimir-Suzdal Principality used the services of the best Byzantine icon painters.

The oldest icons in Rus' were preserved in Veliky Novgorod. Several huge icons that were part of the ancient decoration of the temple come from the St. Sophia Cathedral. The icon “Golden Robe of the Savior,” depicting Christ on the throne in golden robes, is currently in the Assumption Cathedral in Moscow, but only paintings from the 17th century have survived on it. The icon of the apostles Peter and Paul, kept in the Novgorod Museum along with its ancient frame, is much better preserved.

The iconography of the Vladimir-Suzdal principality stands out. The flourishing of its culture is associated with Andrei Bogolyubsky. In 1155, Andrei Bogolyubsky left Vyshgorod, taking with him the revered icon of the Mother of God, and settled in Vladimir on the Klyazma. The icon he brought, called the Vladimir icon, became the palladium of the principality, and subsequently of all of Russia. The Byzantine image, beautiful in its insight and classicism, served as a kind of measure of artistic quality for working icon painters.

The luxurious white stone churches of Andrei Bogolyubsky and his brother Vsevolod, who ruled after him, were painted by the best masters. Perhaps the artists who painted the Assumption Cathedral, consecrated in honor of the heavenly patron, the Great Martyr Demetrius of Thessaloniki, were invited from Thessalonica, where Vsevolod spent his youth. The brought tombstone of St. Demetrius, on which his icon was written, was kept here.

The most ancient Russian icons date back to the end of the 11th - beginning of the 13th centuries. They are full of calm grandeur, depicting courageous, strong, intelligent people, ready for heroic deeds. These are the warriors - Dmitry of Thessalonica on the icon kept in the Tretyakov Gallery, and George on the icon located in the Moscow Kremlin Museum. They are brave warriors, in full armor, with swords and shields in their strong hands.

A large icon of the Great Martyr Demetrius of Thessaloniki from the city of Dmitrov was commissioned by Prince Vsevolod the Big Nest, who bore this name at baptism. The iconography of the icon is rare - the saint solemnly sits on a throne, sheathing his sword. Here there is both a moment of glorification of the saint himself, as if resting after a battle, and the theme of investiture: the saint patronizes the prince, presenting him with his sword as a sign of power.

DiMitrius of Thessalonica

The Mother of God is depicted as an intercessor for people in the icon of the Great Panagia (Panagia in Greek means “perfect holiness”). The Mother of God stands with her hands raised up, as if shielding people from all troubles.

3. The flourishing of ancient Russian icon painting. Feofan's creativityGreek, Andrei Rublev, Dionysius

The heyday of ancient Russian painting occurred at the end of the 14th - mid-16th centuries. What is this period of our history like? Having gone through the trials of the Mongol-Tatar yoke, the Russian people began to unite to fight the enemy and realize their unity. In art he embodied his aspirations and aspirations, social, moral, and religious ideals. Among the icons of this time, remarkable works by the Byzantine artist stand out Feofan the Greek. His art, passionate, dramatic, wise, stern, sometimes tragically intense, made a strong impression on Russian masters. The frescoes he created in the Novgorod Church of the Savior on Ilyin Street (1378) are built on a subtle combination of various brown, blue, indigo and lilac shades. The dark faces, on which energetic white strokes are applied, are full of extraordinary inner strength and expression.

The era was reflected in its own way in creativity Andrey Rublev, who worked in Moscow. Rublev's date of birth is not precisely established; it is assumed that he was born between 1360 and 1370. He was probably a monk of the Trinity-Sergius Monastery - one of the major centers of Rus' at that time, and at the end of his life - the Andronikov Monastery in Moscow. The chronicles report about him twice: in 1405, when he, with Prokhor from Gorodets and Feofan the Greek, painted the Annunciation Cathedral in the Moscow Kremlin and painted icons for it, and in 1408, when he and his older friend, icon painter Daniil Cherny, worked on restoring the painting and the iconostasis of the Assumption Cathedral in Vladimir (the old painting of the cathedral was almost completely destroyed during the Mongol-Tatar invasion in 1237). The frescoes made by Rublev for this cathedral on the theme of the “Last Judgment” have been preserved (according to religious legends, the “Last Judgment” is supposedly God's judgment, which should take place on a certain day, the “end of the world”, in which all people will be rewarded according to their deserts: sinners will receive punishment, and the righteous will receive eternal bliss). Not all of the grandiose composition that once occupied the western part of the cathedral has reached us, but only fragments. The painting has lost its former brightness of colors, its surface is very worn. But her images still captivate us with their beauty and smooth movements. And most importantly, this painting is deeply human: the soft and gentle faces of the saints are the faces of ordinary Russian people.

Rublev also worked on the painting of the Trinity Cathedral of the Trinity-Sergius Lavra and in the Andronikov Monastery, where he was apparently buried around 1430.

Rublev never signed his works, so the question of his authorship in each specific case has repeatedly caused controversy among scientists.

“Trinity” is one of Rublev’s most reliable works. It was written in the 1st quarter of the 15th century for the Trinity Cathedral of the Trinity-Sergius Monastery in honor of its founder, Sergius of Radonezh. The icon depicts three angels sitting at a table around an iron bowl. There seems to be a quiet conversation between them. They came to the house of the prophet Abraham and predicted the birth of a son for him - this is the theological meaning of the icon. But Trinity was also a special holiday - on this day, according to custom, people who had quarreled were reconciled. And this second content is the main one in the Trinity. Peace, harmony, unanimity - this is what the artist calls on the Russian people. And this real content of the icon reflected the desire of the Russian people to unite Rus' and unanimously repel their enemies. Therefore, it is no coincidence that the icon was dedicated to Sergius of Radonezh - a fierce champion of the unification of Rus', an opponent of feudal wars and strife.

Everything in the icon is harmonious, consistent. Pure colors: bright cornflower blue, soft green, golden yellow, blue - remind us of the colors of Russian nature on a clear June day.

"Trinity"

Three more icons belong to the brushes of Andrei Rublev: the Savior (Jesus Christ), Archangel Michael and Apostle Paul, found near the Zvenigorod Cathedral of the Assumption “on Gorodok”. In these icons, the artist’s humanism manifested itself with particular force. The Savior is especially remarkable. His kind face embodied the ideal man of that time. All three icons are in the State Tretyakov Gallery.

At the end of the 15th and beginning of the 16th centuries another remarkable artist lived and worked - Dionysius. He worked in Borovsk, Moscow, Volokolamsk, the Ferapontov Monastery near Kirillov (not far from Vologda), and in the Pavlovo-Obnorsky Monastery. He painted frescoes, icons, and possibly miniatures for books. His work in the Ferapontov Monastery was especially significant, where he created frescoes, musical in lines and rhythms, infinitely rich in color. Two of his icons are famous, telling about the life of the 14th century Moscow metropolitans Peter and Alexy - “Metropolitan Peter in the Life” and “Metropolitan Alexy in the Life”. Very interesting hallmarks these icons, which tell about real historical events(in icon painting, stamps are small completed compositions located around a large image). For example, about Alexy’s trip on a diplomatic mission to the Tatar Khan, about the healing of the Khan’s wife Taidula.

Along with the Moscow school, icon painting flourished in Novgorod, Pskov, Tver, Suzdal and other cities in the 14th - 15th centuries.

4. Iconography - historical and artistic value

A turn in the development of icon painting occurred in the middle of the 16th century, when church control over the work of icon painters sharply increased. The decisions of the Stoglavy Council referred to Andrei Rublev as a model, but essentially cut off the precious thread coming from him.

A historical examination of icon painting helps to understand its essence. Icon painters usually did not invent or compose their own stories like painters. They followed the iconographic type developed and approved by custom and church authorities. This explains the fact that icons on the same subject, even separated by centuries, are similar to each other. It was believed that masters were obliged to follow the models collected in iconographic originals and could only express themselves in color. Otherwise they were at the mercy of traditional canons. But even within the framework of constant gospel stories, with all the respect for tradition, the masters always managed to add something of their own, enrich, and rethink the ancient model.

Until the 17th century, painters usually did not sign their works. Chronicles and other literary sources mention the most revered icon painters: Theophan the Greek, Andrei Rublev, Daniil Cherny, Dionysius. Of course, there were much more talented craftsmen, but their names remained unknown to us.

Modern people cannot help but be surprised by the sharp contradictions between the cruelty and rudeness of the morals of feudal Rus' and the nobility and sublimity of ancient Russian art. This does not mean that it turned away from the drama of life. The Russian people of that era delved into the course of life, but sought to put into art what they really lacked and what the aspirations of the people attracted them to.

For example, the images of the martyrs Boris and Gleb then looked like an exhortation to the princes to abandon civil strife. The icon “Battle of Novgorodians with Suzdalians” showed local patriotism of those years when Novgorodian freedom was threatened by the regiments of Moscow princes.

Old Russian masters were deeply convinced that art makes it possible to touch the mysteries of existence, the mysteries of the universe. The hierarchical ladder, pyramidality, integrity, subordination of parts - this is what was recognized as the basis of the world order, which was seen as a means of overcoming chaos and darkness. This idea found expression in the structure of each icon. The Christian temple was thought of as a semblance of the world, the cosmos, and the dome was the firmament. Accordingly, almost every icon was understood as a semblance of a temple and at the same time as a model of the cosmos. Modern man does not understand the ancient Russian cosmos. But he, too, cannot help but be captivated by the fruits of poetic creativity generated by this view: a bright cosmic order triumphing over the forces of dark chaos.

Old Russian icon painting paid great attention to images of gospel scenes from the life of Christ, the Mother of God (Virgin Mary) and saints. Among the many different motives, she chose the most constant, stable, and universally significant.

Particular attention should be paid to a group of such icons in which the people's ideals were manifested, and agricultural Rus' had its say. These are primarily icons dedicated to Florus and Laurus, patrons of livestock, George, Blasius and Elijah the Prophet, who was depicted against a bright, fiery background as the successor of the pagan god of thunder and lightning Perun.

Among the subjects and motifs that especially appealed to the people of Ancient Rus', one should mention the Rublev type of “Trinity”: three figures, full of friendly disposition, forming a closed group. Andrei Rublev expressed this state with the greatest clarity and captivating grace. Rehashes of his compositions and free variations on this theme are constantly found in Russian icons.

In the world of ancient Russian icons, the human element is of great importance. The main subject of icon painting is a deity, but it appears in the image of a beautiful, exalted person. The deep humanism of the Russian icon also lies in the fact that everything depicted passed through the crucible of the human soul and was colored by its empathy. In his impulse to the lofty, a person does not lose the ability to look tenderly at the world, to admire the frisky running of horses, then shepherdesses with their sheep - in a word, all the “earthly creatures,” as it was pleasant to say then.

Icon painting is symbolic art. It is based on the idea that everything in the world is just a shell, behind which a higher meaning is hidden, like a core. The work of art takes on several meanings from here, which makes the icon difficult to perceive. Both the plot and art form. Each icon, in addition to the fact that it depicts a legendary event or character, also has a subtext in which its true content is revealed.

Icons in their content are addressed not to one person, but to a community of people. They formed a row in the temple - an iconostasis, benefiting from their proximity to each other. The Old Russian iconostasis represented an integral, harmonious unity. The first large iconostases with human-sized figures date back to the beginning of the 15th century, and since then not a single temple could do without such a majestic structure. Its literal meaning is the prayer of the saints addressed to Christ, the Almighty, seated on the throne (Deesis rank - row). But since there was also a local row with icons on various topics, and a festive one - with scenes from the life of Christ and Mary, and a prophetic one (images of the apostles, prophets), the iconostasis acquired the meaning of a kind of encyclopedia. At the same time, the iconostasis is a remarkable artistic creation of ancient Russian culture. Its significance in the development of ancient Russian icons is difficult to overestimate. Many icons cannot be explained and understood outside of the combination in which they are found in the iconostasis.

Icon painting has developed the highest artistic skill, a special understanding of drawing, composition, space, color and light.

The drawing conveyed the outlines of objects so that they could be recognized. But the purpose of the drawing was not limited to identification. Graphic metaphor - the poetic likening of a person to a mountain, a tower, a tree, a flower, a slender vase - is a common phenomenon in Russian icon painting.

Composition - especially strong point ancient Russian icons. Almost every icon was thought of as a semblance of the world, and accordingly, a middle axis is always present in the composition. At the top there is the sky (the highest tiers of existence), and at the bottom the earth (“heaven”) is usually designated, sometimes the underworld is below it. This fundamental structure of the ion, regardless of the plot, influenced its entire composition.

Ancient texts list the favorite colors of our icon painters: ocher, cinnabar, cormorant, gaff, cabbage roll, emerald. But in reality, the range of colors of ancient Russian painting is more extensive. Along with pure, open colors, there were many intermediate ones. They vary in aperture and saturation; among them there are sometimes nameless shades that cannot be described in words; only the human eye can catch them. The colors glow, shine, ring, sing and all this brings great joy. Sometimes, just by light alone, for example, by the red cloak fluttering in the wind in the icon “The Miracle of George on the Dragon,” a warrior is given a deep characterization.

Old Russian icon painting is one of the largest phenomena in world art, a unique, unique phenomenon of enormous artistic value. It is generated by the historical conditions of the development of our country. But the values ​​it creates are public property. For us, ancient Russian icon painting is of great value, in particular, because many of its artistic features were used in a reinterpreted form by major contemporary artists (for example, K.S. Petrov-Vodkin, V.A. Favorsky, P.D. Korin, etc. ).

In our country, the business of collecting and disclosing works of ancient Russian icon painting has acquired national proportions. Lenin's decrees on the nationalization of art monuments laid the foundation for the creation of the largest repositories of ancient Russian painting in the Tretyakov Gallery and the Russian Museum.

In the year of the 600th anniversary of the birth of Andrei Rublev, the Museum of Ancient Russian Art named after him was opened in the former Andronikov Monastery in Moscow.

List of used literature

Basic literature

1. Children's encyclopedia in 12 volumes. Volume 12 - Art. Third edition. Scientific editors of the volume: M.P. Sysoev, O.I. Sopotsinsky, D.B. Kabalevsky, V.M. Blok, M.I. Tsarev, S.A. Gerasimov, V.E. Baskakov. - M., Pedagogy, 2009. - 576 p., ill.

2. Encyclopedic dictionary of a young artist. Comp. N.I. Platonov, V.D. Sinyukov. - M., Pedagogy, 2010. - 416 p., ill.

Internet sources

3. Russian icon painting.

Nowhere has icon painting reached such development as in Rus', nowhere has it created so many masterpieces and has become over the centuries the favorite form of fine art of an entire people.

The cult of the icon (from the Greek eikon - image, image) originated in the 2nd century. and flourished in the 4th century; The oldest surviving icons date back to the 6th century. The icon should be viewed not as an image identical to the Divine, unlike pre-Christian idols, but as a symbol that allows spiritual communion with the “original” (archetype), that is, penetration into the supernatural world through an object of the material world.

The icons were made initially using the technique of encaustic (wax painting), then with tempera and, in rare cases, mosaics, and later (mainly from the 18th century) with oil painting. Especially widespread the icon was received in Byzantium; original schools of icon painting arose in Coptic Egypt and Ethiopia, in the South Slavic countries, and in Georgia. The ancient Russian icon acquired real artistic brightness and originality.

Based on archaeological excavations, it has been established that working with paints was known in Ancient Rus' even before the adoption of Christianity. This is evidenced by the discovery of a pestle for rubbing paints, discovered in an excavation at the site of the ancient Saransk settlement, where the city of Rostov the Great was later founded. But the technology of painting and the binders on which the paint was rubbed are not yet known.

The icon consists of four to five layers, arranged in the following order: base, primer, paint layer, protective layer. The icon may have a frame made of metals or any other materials.

The first layer is the base; most often it is a wooden board with a fabric called pavoloka glued to it. Sometimes the board is without pavilion. Very rarely, the base for works of yolk tempera was made only from canvas. The reason for this phenomenon is obvious. Wood, and not stone, served as our main building material, so the overwhelming majority of Russian churches (9/10) were wooden. With their decorativeness, ease of placement in the church, the brightness and durability of their colors (ground on egg yolk), icons painted on boards (pine and linden, covered with alabaster primer - “gesso”) were perfectly suited for the decoration of Russian wooden churches. It was not without reason that it was noted that in Ancient Rus' the icon was the same classical form of fine art as a relief in Egypt, a statue in Hellas, and a mosaic in Byzantium.

The second layer is soil. If the icon is painted in a late manner, combining tempera with paints on other binders (mainly oil), and the layers of primer are colored (color pigments are used, rather than traditional chalk or plaster), then it is called “primer”. But in yolk tempera, which prevailed in icon painting, the ground is always white. This type of soil is called gesso.

The third layer is colorful. The paint layer consists of various paints sequentially applied to the ground. This is the most essential part of a work of painting, since it is with the help of paints that the image is created.

The fourth is a protective (or cover) layer of drying oil or oil varnish. Very rarely, protein was used as a material for the protective layer. chicken egg(on Belarusian and Ukrainian icons). Currently - resin varnishes.

The frames for the icons were made separately and secured to them with nails. They come in metals, embroidered fabrics, and even carved wood, covered with gesso and gilding. They covered not the entire pictorial surface with frames, but mainly the halos (crowns), background and fields of the icon, and less often - almost its entire surface with the exception of images of heads (faces), hands and feet.

For many centuries in Rus' they painted using the yolk tempera technique; Nowadays the terms “egg tempera” or simply “tempera” are used.

Tempera (from the Italian “temperare” - to mix paints) is painting with paints, in which the binder is most often an emulsion of water and egg yolk, less often - from vegetable or animal glue diluted in water with the addition of oil or oil varnish. The color and tone in works painted with tempera are incomparably more resistant to external influences and retain their original freshness much longer compared to oil painting paints. The yolk tempera technique came to Russia from Byzantium at the end of the 10th century along with the art of icon painting.

Until the end of the 19th century, Russian icon painters, speaking about the process of mixing pigment with a binder, used the expression “rub paint” or “dissolve paint.” And the paints themselves were called “created”. Since the beginning of the 20th century, only paints made from gold or silver powders mixed with a binder (created gold, created silver) began to be called created. The rest of the paints were simply called tempera.

Icons in Rus' appeared as a result of the missionary activity of the Byzantine Church at a time when the importance of church art was experienced with particular force. What is especially important and what was a strong internal motivation for Russian church art is that Rus' accepted Christianity precisely in the era of the revival of spiritual life in Byzantium itself, the era of its heyday. During this period, nowhere in Europe was church art as developed as in Byzantium. And at this time, the newly converted Rus' received, among other icons, as an example of Orthodox art, an unsurpassed masterpiece - the icon of the Mother of God, which later received the name of Vladimir.

Rostov-Suzdal school.

Rostov-Suzdal and Zalesskaya Rus' were in ancient times vast lands from the Oka and Volga to the White Lake. These lands became the second center of Russian statehood and culture after Kyiv. In the very center of Rus', over the course of three centuries, from the 10th to the 13th, the cities of Rostov Veliky, Murom, Suzdal, Vladimir, Belozersk, Uglich, Kostroma, Tver, Nizhny Novgorod, and Moscow arose.

The icons painted in Rostov the Great represent it as a center, a kind of academy for painters of North-Eastern Rus'. They confirm the significance and vivid originality of national Central Russian ancient painting and its important role in public art.

The icons of the Rostov-Suzdal school, even at the first acquaintance, amaze us with the brightness and purity of light, the expressiveness of the strict design. They are characterized by a special harmony of rhythmically constructed compositions and soft warm shades of color.

The oldest of the Suzdal icons, the Maksimovskaya Mother of God, was painted in 1299 by order of Metropolitan Maxim in connection with the transfer of the metropolitan see from Kyiv to Vladimir. The Mother of God is depicted full-length with a baby in her arms. The icon has significant losses of ancient painting, but the unusually expressive silhouette and smoothly running lines of the drawing speak of the very high skill of its creators.

Works of painting from the 14th century - the time of the struggle against the Mongol-Tatars - bear the features of the time, their images are full of deep mournful power. They found expression in the icon of the Virgin Mary (14th century). It is characteristic that even the clothing of the Mother of God - the maforium - with its almost black color symbolizes the depth of sadness.

The 15th century is rightly considered the heyday of ancient Russian painting. In the traditions of the Rostov-Suzdal school, one of the masterpieces was painted in the 15th century - an icon depicting the Feast of the Intercession. This holiday was introduced by Andrei Bogolyubsky and became especially popular in the Vladimir-Suzdal land. The central image of this work is the Mother of God, covering people with her cover, protecting them from harm. This work is full of peaceful harmony. This impression is created by a balanced composition, a color scheme built on the relationships of light brown, red and white color shades.

In the 15th century, hagiographic icons, in which the image of a saint is framed with stamps with scenes from his life, became especially widespread. This is how the icon of St. Nicholas (16th century) was made, a saint especially popular in Rus'. This icon is striking in its richness of pink, light green, light brown subtle shades, next to blue and red spots on a white background. This richness of color gives the icon freshness and sonority.

The 16th century, when the idea of ​​statehood grew stronger, was characterized by strict, sublime images. At this time, the icon of the Mother of God Hodegetria (in Greek - “warrior”) was painted. Along with such works, there are others; in them one can feel a living folk understanding of the images and their interpretation.

In the icon of the Annunciation, the artist introduces an image of swans, which in popular belief were associated with the image of a virgin bride.

From the 2nd half of the 16th century, the composition of icons began to become more complex. This trend is gradually increasing, and in the 17th century the artist strives to convey in as much detail as possible the legend underlying this or that iconic image. Thus, the “Descent into Hell” icon is not only very detailed, but for greater persuasiveness it is supplemented with inscriptions. In the underworld, next to the demons personifying human sin, there are inscriptions: “theft,” “fornication,” and “despair.”

At the end of the 17th century, features appeared in Russian icon painting that indicated the approach of the era of realistic painting. Artists strive to paint icons in a manner close to realistic, conveying the volume of faces, figures, and environment. It is these features that characterize the icon of the Vladimir Mother of God from the late 17th century.

All these icons of the Rostov-Suzdal school amaze us either with the brightness, freshness and harmony of the artistic structure, or with the complexity and entertaining nature of the narrative, opening us a window into the past, giving us the opportunity to come into contact with the rich and in some ways not fully understood world of our ancestors.

Moscow school.

The Moscow school took shape and developed intensively during the era of the strengthening of the Moscow principality. Painting of the Moscow school in the 14th century. represented a synthesis of local traditions and advanced trends Byzantine and South Slavic art (icons “The Ardent Eye of the Savior” and “The Heath of the Savior”, 1340, Assumption Cathedral of the Moscow Kremlin). The heyday of the Moscow school in the late 14th - early 15th centuries. associated with the activities of outstanding artists Feofan the Greek, Andrei Rublev, Daniil Cherny. The traditions of their art were developed in the icons and paintings of Dionysius, which attract attention with their sophistication of proportions, decorative festivity of color, and balance of compositions.

The Rostov-Suzdal school, known in Rus' since pre-Mongol times, served as the soil on which Moscow painting developed and took shape in the 14th-16th centuries.

It existed for a long time next to Rostov-Suzdal, but the final dissolution of Rostov-Suzdal painting in the new Moscow direction did not occur. The originality of the first is obvious, and even in the 16th century their works remain true to their traditions.

When did the Moscow school of painting arise?

This is very difficult to establish, since at first the art of Moscow was similar to the art of the Vladimir-Suzdal land, just as the history of Moscow itself merged with its history.

Perhaps the origin of the Moscow school can be associated with such icons of Central Russian origin, such as, for example, “Boris and Gleb” of the early 14th century. Royally majestic, slender and graceful, these young warriors in magnificent clothes, with a sword and a cross in their hands.

Already in the early Moscow icons, the colors complement each other, and the beauty of their dimensional consistency, and not in contrasts. And the linear rhythm of Moscow icon painting is also softly but confidently coordinated in measured sound, without the effects that, for example, the juxtaposition of the vertical with the horizontal gives.

By the beginning of the 15th century, Moscow occupied an exceptional position in Eastern Europe, both politically and culturally. The Moscow principality grew stronger and grew. Artists from many countries flocked to Moscow, for whom it became one of the largest cultural centers. This is how Theophanes the Greek, who had already become famous in Novgorod, ended up in Moscow.

The perfection of Feofan's artistic techniques - the legacy of a very ancient culture that had long since reached its zenith - was especially important for the final development of the art of a young power, but already aware of its global significance.

In Moscow, perhaps under the influence of the Moscow pictorial tradition, Feofan showed in his compositions less passion, less dynamism, but more than in Novgorod, majestic solemnity. This is evidenced by the central figures of the Deesis tier of the iconostasis of the Annunciation Cathedral, which he painted, among which the figure of Mary is especially attractive with its picturesque perfection. No other of his Moscow works have survived.

In addition to Feofan himself, they worked on the painting of the Annunciation Cathedral under his general leadership: “Prokhor the elder from Gorodets, and the monk Andrei Rublev.”

Andrei Rublev was already revered during his lifetime for his outstanding skill, but true fame came to him after his death, and not immediately. But this glory turned out to be indisputable.

The discovery of Rublev’s “Trinity” made a stunning impression; everyone was filled with boundless admiration: one of the most significant, most spiritual creations of world painting was being released from the prison that had hidden it for so long.

“Trinity” served as the foundation for recreating the creative individuality of Andrei Rublev. And the idea was even expressed that it was this particular Rublev masterpiece that most likely provides the key to understanding the beauties of all ancient Russian painting.

All of Rublev's painting sounds like a delightful symphony, like a lyrical verse about universal brotherly affection. How much joy is generously prepared for us here through the means of painting alone, so that before this creation of Rublev, we are indeed ready to agree with Leonardo Da Vinci, who said that painting is the queen of the arts.

These feelings, these joys arise in the contemplation of Rublev’s “Trinity”, even if you do not know what, in essence, its plot is. The icon, in marvelous colors and images, glorifies brotherhood, unity, reconciliation, love, and with its very beauty proclaims hope for the triumph of these good principles.

In Rublev’s work, ancient Russian pictorial culture found its brightest, most complete expression, and his “Trinity” was destined to serve as a beacon for all subsequent Russian icon painting, until this art itself lost its fulness. The stamp of Rublev's genius is on many works of art, which the Russian people have the right to be proud of.

A number of excellent Moscow icons of the first decades of the 15th century testify to the general flourishing of painting in the Rublev era. One of the greatest masters, whose names have not reached us, was the author of the icon of the Archangel Michael from the Archangel Cathedral in Moscow and which, in its artistic merits, can be ranked among the highest achievements of ancient Russian painting. Moreover, what triumphs in this icon is not the principle of bright joy or pacifying sincerity, but the epic, heroic.

Archangel Michael here is not a meek, thoughtful angel with a poetically bowed head, but a menacingly erect young warrior, with a sword in his hands, breathing courage. It was not for nothing that he was considered a leader heavenly army, conqueror of Satan and patron of Russian princes. This is no longer a sweet dream of a well-ordered world, but the embodiment of military valor and the will to fight.

The entire composition in its linear and colorful rhythm is dynamic, everything in it is seething, as if obeying some force that appears in the gaze of the winged guardian of the Russian land.

...The torch of Russian art, so highly raised by Rublev, passes by the end of the century into the hands of his worthy successor, Dionysius. His frescoes of the Ferapontov Monastery are a monument of ancient Russian art. His compositions have such light elegance, such high decorativeness, such exquisite grace, such sweet femininity in their rhythm, in their gentle sound, and at the same time such solemn, strictly measured, “slowness” that corresponded to the court ceremonial of the Moscow of that time. In this measuredness and restraint, Dionysius displays artistic wisdom, already appreciated by his contemporaries. The turns of the figures are barely indicated, the movements sometimes freeze in one gesture or even a hint of a gesture. But this is enough, because the integrity and beauty of his compositions are based on the absolute internal balance of all parts. And as P.P. Muratov rightly says, “after Dionysius, ancient Russian painting created many beautiful works, but Dionysian dimension and harmony were never returned to it.”

The last great flap of the wings of ancient Russian creativity.

Stroganov school.

The name “Stroganov school” arose due to the frequent use of the family mark of the Solvychegodsk merchants Stroganovs on the back of the icons of this movement, but the authors of most of the works of the Stroganov school were Moscow royal icon painters, who also carried out orders from the Stroganovs - connoisseurs of subtle and sophisticated craftsmanship. The icons of the Stroganov school are characterized by their small size, miniature writing, rich, dense color scheme based on halftones, enriched by the widespread use of gold and silver, the fragile delicacy of the characters’ poses and gestures, and the complex fantasy of landscape backgrounds.

Novgorod school.

The ancient monuments of Novgorod painting have been most fully preserved. In some works, the influence of Byzantine art can be traced, which speaks of the broad artistic ties of Novgorod. The usual type is a motionless saint with large facial features and wide open eyes. For example, “St. George”, Armory Chamber, Moscow; double-sided icon with images Savior Not Made by Hands and Adoration of the Cross, late 12th century, Tretyakov Gallery.

The glory of the “Novgorod letters” - icons of the Novgorod school - was so great that many connoisseurs considered almost all the best ancient Russian icons to be Novgorod, and some researchers even tried to attribute Rublev and Dionysius to it.

These attempts were not justified. But there is no doubt that in the 15th century the Novgorod school reached its peak, which “leaves behind everything that was created before.” (I.V. Alpatov)

In Novgorod painting, almost from its inception and in all subsequent centuries, the folk principle manifests itself with special force, with special persistence. It will broadly reflect the practical – economic attitude towards the functions and meanings of saints.

The close intertwining with everyday life inherited from paganism, divine powers with the forces of nature and its benefits has long left its mark on the ancient Russian worldview.

The icon painter never painted from life; he sought to capture an idea. Novgorod painting is especially characterized by the desire to make the idea extremely clear, really tangible, and accessible.

Among the earliest Novgorod icons that have come down to us there are masterpieces of world significance. Such, for example, is “Angel of Golden Hair,” probably written at the end of the 12th century. What high, pure beauty in this unforgettable image!

In the icon of the Novgorod school “Assumption” (13th century), some figures of the apostles literally shock us with the vital truth of those deep experiences that were captured in them by an inspired artist unknown to us. Often the artist depicted very real people, at the same time typical representatives of the ruling Novgorod elite, with the highest heavenly powers. This is a significant phenomenon in ancient Russian painting, very characteristic of the Novgorod school with its desire for concreteness and truthful expressiveness. Thanks to this, we can clearly imagine the appearance of the then noble Novgorodian.

Novgorod icons are very emotional. Thus, in the “Assumption of the Virgin” icons, the artist conveyed with stunning power the great drama of death, the all-consuming human grief. The same theme found its expression in the famous icon “Entombment” (2nd half of the 15th century).

Novgorod icons are beautiful for their color contrasts. In them, each color plays on its own, and each enhances the other in mutual opposition. The compositions of Novgorod painting, no matter how complex they may be - one-, two-, three-figure or multi-plot, narrative in nature - they are all simple, perfectly inscribed in the plane and consistent with their forms. All elements are distributed evenly and according to their importance. They are neither overly busy nor empty. The background spaces between individual images take on beautiful shapes, playing a large role in the composition. Figures, mountains, trees are often arranged symmetrically. With this the compositions were closed and received complete completion. At the same time, this symmetry was broken by the turns of the figures, the tilts of their heads, and the various shapes of mountains, platforms, buildings, trees and other images.

Other schools of icon painting.

Volga school.

Icons of the Volga region are characterized by the following features: energetic, clear structure, dark, deep-sounding tones. The Volga region origin of the icon reveals a special predilection for water landscapes. There are four of them. Three show lush dark waters playing with steep waves. On the fourth there are quiet waters, a sandy shore, where a miracle occurs in broad daylight: a traveler with a white sack on his shoulder comes ashore from the open huge mouth of a fish. This icon of St. Nicholas of Zaraisky with his life (16th century).

The “Entombment” icon (late 15th century) is interesting. The figures of the characters are arranged in clear horizontal rows parallel to the tomb with the body of Christ. As if repeating these horizontal lines, in the background there are ledges of hills, diverging from the center to the sides. The figure of Mary Magdalene with her arms raised high seems to personify hopelessness and despair.

In the icon " last supper"(late 15th century) the dramatic situation was conveyed by the icon painter extremely expressively: frozen in various poses, with different hand gestures, the apostles are depicted around a white oval table. On the left, at the head, sits Christ, to whom the outer apostle fell in an expressive movement.

Yaroslavl school.

The Yaroslavl icon painting school arose at the beginning of the 16th century. during the period of rapid growth of the city's population and the formation of the merchant class. The works of Yaroslavl masters from the early 13th century have reached us, works from the 14th century are known, and in terms of the number of surviving monuments of painting from the 16th and 17th centuries. The Yaroslavl school is not inferior to other ancient Russian schools. The works of Yaroslavl masters carefully preserved the traditions of the high art of Ancient Rus' until the very middle of the 18th century. At its core, their painting remained faithful to that great style, the principles of which were formed in ancient times and developed for a long time in miniature painting. Along with “petty” images, Yaroslavl icon painters back in the 18th century. They also wrote compositions in which the love for large masses, for strict and laconic silhouettes, for a clear and clear structure of scenes in stamps is palpable in the same way as in the works of masters of the 15-16 centuries. Works of Yaroslavl masters of the second half of the 17th - early 18th centuries. For a long time they were recognized in Russia as examples of old national art. They were collected by admirers of ancient icon painting - Old Believers; they were carefully studied by the artists of Palekh and Mstera, who continued to do so in the 19th and 20th centuries. paint icons in the traditions of Russian medieval painting.

One of the oldest icons that has come down to us is “Our Lady of the Great Panagia.” In the decorative design of the icon, the use of gold plays an important role, giving the image the impression of majestic beauty and unearthly splendor. The rhythmic construction of the icon also uses the activity of the white color, skillfully used in the writing of the faces.

The emotional intensity of the image is characteristic of the icon “Savior Not Made by Hands” (13th century). It is enhanced thanks to the rich, major painting of the background - the board is designed in bright yellow and red tones of several shades.

Nizhny Novgorod school.

One of the interesting icons of Nizhny Novgorod origin is “The Fiery Ascent of the Prophet Elijah with the Life” (14th century). It is written broadly and freely. Life scenes are full of movement, gestures are expressive. The richest variety of individual characteristics of the characters. The faces are painted in dark sankir: free writing in bright white marks the expressiveness of the facial shape and the sharpness of the gaze. The artist concentrates attention on the main thing - the state of mind, impulse, expression of spirit; tension reigns in the icon, a kind of concentrated state of comprehension of the truth and reflection.

The icon “The Miracle of Dmitry of Thessalonica with the Life” (first half of the 16th century) was made in the same manner - the same characteristic graphic clarity of the silhouette and bright rich colors that distinguish Nizhny Novgorod monuments of the 14th-16th centuries.

Tver school.

The Tver school of icon painting developed in the 13th century. Icons and miniatures of the Tver school are characterized by severe expressiveness of images, tension and expression of color relationships, and emphasized linearity of writing. In the 15th century its previously characteristic orientation towards the artistic traditions of the countries of the Balkan Peninsula intensified.

Pskov scale.

The Pskov school developed during the period of feudal fragmentation and reached its peak in the 14th-15th centuries. It is characterized by increased expression of images, sharpness of light highlights, and impasto brush strokes (icons “The Cathedral of Our Lady” and “Paraskeva, Varvara and Ulyana” - both 2nd half of the 14th century, Tretyakov Gallery). In painting, the collapse of the Pskov school began at the turn of the 15th and 16th centuries.