It is believed that God moves the hand of the icon painter. We will tell you about the seven masters whose work brought Russian icon painting into the category greatest achievements both national and world culture.

Theophanes the Greek (about 1340 - about 1410)

In miniature: Don Icon Mother of God brushes of Theophanes the Greek. One of the greatest icon painters of his time, Theophanes the Greek was born in Byzantium in 1340 and during for long years honed his unique expressive style, painting the temples of Constantinople, Chalcedon, Genoese Galata and Kafa. However, none of the frescoes of that period has survived to this day, and the world-wide fame of the master was made up of murals made in Rus'.

He arrived in Novgorod (in 1370), he was already an accomplished icon painter. Theophan's first work in Novgorod was the painting of the Church of the Transfiguration of the Savior on Ilyina Street - the only monumental work of Theophanes the Greek that has survived. Time spared the frescoes with the famous bust of the Almighty Savior with the Gospel, with the figures of Adam, Abel, Noah, Seth and Melchizedek, as well as the images of the prophets Elijah and John.

Twelve years later, Theophan the Greek moved to Moscow, where he supervised the work of masters in painting the churches of the Moscow Kremlin. Not everyone knows: the original frescoes of Theophanes the Greek and his students have not been preserved, but individual fragments of their composition were reproduced again and again on the walls of the Kremlin cathedrals. Special mention deserves the fact that the Annunciation Cathedral of the Moscow Kremlin, together with Theophan the Greek, was also painted by Elder Prokhor from Gorodets and Andrei Rublev.

In addition to icon painting, Theophanes the Greek created miniatures for books and designed the Gospels - for example, the great Byzantine master painted the ornamental decorations of the famous Gospel of the Moscow boyar Fyodor Koshka.

Interesting fact: Feofan Grek is credited with the authorship of icons from the iconostasis of the Annunciation Cathedral of the Moscow Kremlin. This is the first iconostasis in Russia with full-length figures of saints. Also, it is the brushes of the Greek that belong to the Don Icon of the Mother of God stored in the Tretyakov Gallery and the icon of the Transfiguration of Jesus Christ on the mountains. e Tabor.

Andrei Rublev (circa 1360 - 1428)

In miniature: Icon "Trinity" by Andrey Rublev.Andrei Rublev can be called the most famous and - if such a definition is possible in a conversation about a sainted monk-artist - a popular Russian icon painter, whose work for hundreds of years has been a symbol of the true greatness of Russian art and absolute devotion to the chosen life path.

Until now, neither the place of birth of Rublev, nor even the name given to him at birth is known - he was named Andrei already at the tonsure into monasticism - however, the scarcity of factual information about the master in in a certain sense even adds expressiveness and brightness to his image.

The earliest known work by Rublev is considered to be the painting of the Annunciation Cathedral of the Moscow Kremlin in 1405, jointly with Feofan the Greek and Prokhor from Gorodets. After the completion of this work, Rublev painted the Assumption Cathedral in Zvenigorod, and later, together with Daniil Cherny, the Assumption Cathedral in Vladimir.

Rublev's unsurpassed masterpiece is traditionally considered the icon of the Holy Trinity, painted in the first quarter of the 15th century - one of the most versatile icons ever created by Russian icon painters, which is based on the story of God appearing to the righteous Abraham in the form of three young angels.

Interesting fact: narrating about the painting of the Annunciation Cathedral of the Moscow Kremlin, the Trinity Chronicle mentions the name of the "dark Rublev" as the last in a row of Feofan the Greek-Prokhor from Gorodets-Rublev, which, according to the chronicle tradition, means that it was he who was the youngest in the artel. At the same time, the very fact of working together with Theophan the Greek makes it clear that by that time Rublev was already an accomplished master.

Daniel the Black (circa 1350 - 1428)

In miniature: Fresco "Bosom of Abraham" by Daniil Cherny.Many books and articles on Russian icon painting also often mention monk Daniel only in the context of his joint work with the author of the great Trinity, however, in fact, his merits to Russian culture are by no means exhausted by this.

Daniil Cherny was not only Rublev's senior comrade and mentor (according to the famous "Spiritual Letter" of Joseph Volotsky), but also an absolutely self-sufficient and experienced artist, who differed from many of his contemporaries not only in his truly unique gift as a painter, but also in his ability to work with composition, color and the nature of the drawing.

Among the author's works of Daniil Cherny there are both frescoes and icons, the most famous of which are the "Bosom of Abraham" and "John the Baptist" (Assumption Cathedral of Vladimir), as well as "The Mother of God" and "The Apostle Paul" (Trinity-Sergius Lavra)

Interesting fact: The joint works of Daniil Cherny and Andrei Rublev posed a difficult problem for historians to separate their works, an interesting solution to which was proposed by art historian Igor Grabar. Icons and frescoes by Daniil Cherny must be recognized as those in whose features the signs of the previous school of writing of the XIV century are visible. The irreproachable logic of such a decision is as follows: in comparison with Rublev, Daniil Cherny can be considered an artist of the older generation, therefore, all signs of the “old” icon painting are the work of his hands.

Dionysius (circa 1440 - 1502)

On thumbnail: Icon "Descent into Hell" by Dionysius. The name of Dionysius embodies, perhaps, the best and largest achievements of Moscow icon painting of the 15th-16th centuries. Historians and art historians consider him a kind of successor to the traditions of Andrei Rublev, taking his place of honor among the greatest Russian icon painters.

The earliest known work of Dionysius is the miraculously preserved painting of the Church of the Nativity of the Mother of God in the Pafnutyevo-Borovsky Monastery near Kaluga (XV century). More than a hundred years later, in 1586, the old cathedral was demolished in order to build a new one. Stone blocks with frescoes by Dionysius and Mitrofan were used in its foundation, where they were successfully discovered many years later. Today, these frescoes are kept in the Moscow Museum of Ancient Russian Culture and Art and the Borovsk branch of the Kaluga Museum of Local Lore.

In 1479, Dionysius painted the iconostasis for the wooden Church of the Assumption in the Joseph-Volokolamsky Monastery, and 3 years later - the image of Our Lady Hodegetria on a burnt Greek icon from the Ascension Monastery in the Moscow Kremlin, destroyed in 1929.

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

Interesting fact: the manner of writing Dionysius can be judged by the superbly preserved frescoes of that same Ferapontov monastery on Beloozero. These frescoes have never been repainted or subjected to serious restoration, thus remaining as close as possible to their original style. original look and color range .

Gury Nikitin (1620 - 1691)

On thumbnail: Icon "Martyrs Kirik and Julitta" by Gury Nikitin) Murals Kostroma icon painter Gury Nikitin is not only an example of the splendor and symbolism of Russian icon painting, but a combination of decorativeism and monumentality, truly unique for his time, within the framework of one work. The point is that for the period creative maturity Nikitin - and this is approximately the 60s XVII century- there is a rise in Russian monumental and decorative art - and these trends do not bypass the young master.

In a difficult year for the Russian church in 1666, Guriy Nikitin takes part in the renewed work on the painting of the Archangel Cathedral of the Moscow Kremlin - Nikitin painted the images of martyr soldiers on pillars, as well as individual parts of the monumental composition " Last Judgment". After 2 years, Nikitin painted 4 icons for the Moscow church of St. Gregory of Neokessaria.

However, perhaps the main professional achievement» Guria Nikitin became a mural in the Yaroslavl Church of Elijah the Prophet and the Kostroma Ipatiev Monastery. During these years, he was already in charge of a group of icon painters, while doing the most difficult part work - he single-handedly drew the contours of all the frescoes, which were then completed by the students.

Interesting fact: if you believe the Patrol Book of 1664, it turns out that Nikitin is not the surname, but the patronymic of the famous icon painter. Full name masters - Gury Nikitin (Ni Kitovich) Kineshmtsev.

Simon Ushakov (1626 - 1686)

In miniature: Icon of the Mother of God "Tenderness" by Simon Ushakov. Favorite of Tsar Alexei Mikhailovich, the beloved and only icon painter of the first persons of the state, an unsurpassed master of drawing and color, Simon Ushakov, in a certain sense, marked the beginning of the process of “secularization” of church art with his work. Fulfilling the orders of the tsar and the patriarch, the tsar's children, the boyars and other important people, Ushakov painted more than 50 icons, marking the beginning of a new, "Ushakov" period of Russian icon painting.

Many researchers agree that Ushakov had no equal in painting faces - and it is precisely by the way he wrote them that it is easiest to track what changes - which logically coincided with the church reform of Patriarch Nikon - occurred with Russian icon painting. With Ushakov, the face of the Savior, traditional for Russian icon painting, acquired “new, hitherto unknown features. The Novgorod Savior was a formidable God, the new Savior is infinitely more affectionate: he is a God-man. This humanization of the Deity, its approach to us brought warmth to the stern appearance of the ancient Christ, but at the same time deprived him of monumentality.

Another important historical feature creativity of Ushakov is the fact that, unlike the icon painters of the past, Ushakov signs his icons. At first glance, an insignificant detail in essence means a serious change in public consciousness of that time - if earlier it was believed that the Lord himself leads the icon painter's hand - and at least for this reason the master does not have the moral right to sign his work - now the situation is changing to the completely opposite and even religious art acquires secular traits s. Like Simon Ushakov, Zubov worked at the royal court and was one of the five "paid icon painters". Having worked in the capital for more than 40 years, Fyodor Zubov painted a huge number of icons, among which were images of the Savior Not Made by Hands, John the Baptist, Andrew the First-Called, the prophet Elijah, St. Nicholas and many other saints.

Interesting fact: Fyodor Zubov became a “complained icon painter” of the royal court, that is, a master who receives a monthly salary and through this - a certain confidence in the future, according to the principle “if there were no happiness, but misfortune helped.” The fact is that in the early 1660s, the Zubov family was left with virtually no means of subsistence, and the icon painter was forced to write a petition to the tsar.

Dmitry Merkulov

Fine art that developed within the framework of the Russian Orthodox Church in the XIV - XV centuries.

Until the 16th century, Russian masters adhered to ancient patterns in icon painting. These samples were for them, as well as for the Byzantines, not legendary images, but real events, a kind of portrait fixation of biblical episodes and the appearance of the holy martyrs and figures canonized by the church, and therefore a sharp departure from the generally accepted iconographic type was impossible. Hence the stability in Russian icon painting of iconographic types, about which the Church tirelessly cared, as the decrees of the cathedrals of the 16th century testify to this. But, noting this stability, one should not turn a blind eye to the process of living iconographic creativity that was going on all the time in Rus', but which proceeded in the XI-XV centuries in a slow, veiled form, gaining in the XVI-XVII centuries, not without Western influences, fast paced.

The main schools of icon painting

The main icon-painting schools were concentrated in Novgorod, Pskov and Moscow. We do not know anything about the ancient iconography of the southern Russian cities (Chernigov, Kyiv), although it undoubtedly existed. On the other hand, there are so many first-class icons coming from Novgorod, Pskov and Moscow, which are also marked by features of stylistic similarity, that we have every reason to consider them as three independent schools. Recently, the contours of other artistic centers have begun to be outlined - Vladimir, Nizhny Novgorod, Tver, Rostov and Suzdal. During political fragmentation Rus', when it broke up into many specific principalities, icons were made not only in large, but also in small cities, which does not always mean that they have their own schools. This required sustainable artistic traditions, clearly budded cadres of icon painters, an abundance of orders, which was often not the case in small principalities. Therefore, the fact of the existence of individual icon-painting workshops in some cases may not be equivalent to the concept of a school. Considering the endless expanses of Rus', such workshops were also scattered over large villages.

Novgorod school

Having escaped the Tatar invasion, Novgorod experienced a brilliant economic and cultural flourishing in the 14th-15th centuries. This free city with a strong handicraft layer conducted extensive overseas trade and vigorously colonized the vast lands of the North, which invariably enriched the Novgorodians. Entrepreneurial and resolute, practical and business-like, they everywhere introduced that spirit of personal initiative, which was especially pronounced in their republican system, with an elected posadnik at the head, who limited the power of the prince, with their archbishop, elected "by the whole city", with a noisy veche, where the interests of the powerful boyars and artisans clashed with the wealthy merchants, who increasingly acted as the builder of churches and the customer of icons.

For the Novgorod icon painting of the XIV century, the artistic heritage of the XIII century was of great importance. In an age when cultural and commercial ties with Byzantium were almost interrupted, when the import of Byzantine icons stopped, it naturally became easier to get out of Byzantine influences. This paved the way for the broadest assimilation folk motives And folk forms, as a result of which Novgorod painting became more primitive in the 13th century, but at the same time more full-blooded.

Pskov school

Pskov iconography has its own distinct face. The compositions of Pskov icons are most often asymmetrical and unstable, the drawing is inaccurate, but always expressive in its own way, the color is thick and rather gloomy with a predominance of emerald green and dark green, almost black tones, dense cherry, red with a characteristic orange or pink tint, muddy blue, grayish green. The backgrounds are mostly yellow, although gold ones are also found. The widest application is found in dressing clothes with the help of the thinnest golden lines, giving a shimmering character to the colorful surface. There is something impetuous, dramatic in coloring with its color contrasts. This impression contributes completely special interpretation dark brown carnation with sharp highlights and no less sharp highlights. The writing style is broad and energetic, with an uneven distribution of colorful pigments. The artistic language of the Pskov icon is extremely expressive. In this he is fundamentally different from the harmonious, balanced language of the Moscow icon. Perhaps, of all the ancient Russian icon-painting schools, the Pskov school was the most democratic in spirit and the most direct and impulsive in terms of forms of expression.

Moscow school

The Moscow school of icon painting was formed later than the Novgorod one, and the beginning of its heyday almost coincides with the heyday of the Pskov school. In Moscow painting of the first half of the 14th century, there undoubtedly existed, as in later times, various artistic currents- local and brought from outside (from Byzantium and from the southern Slavs).

The appearance of Theophan the Greek in Moscow was for Moscow artists great luck. In his person, they came into contact with the master of exceptional talent, who brought the tradition of Constantinople to Rus'. Feofan undoubtedly had his own large workshop, in which he collaborated with local masters, and his art, strong and expressive, had an irresistible charm in the eyes of Muscovites. He had his own students and followers, and he contributed a lot to raising the quality level of Moscow icon painting.

But his influence turned out to be short-lived, since Andrei Rublev very soon departed from him, becoming a champion of such artistic ideals, which in many respects were opposite to the ideals of Theophan the Greek. Rublev's ideals were more contemplative, more enlightened. And he deliberately brushed aside both the Byzantine refinement of the form and those of the local archaic traditions that continued to steadfastly hold on and get rid of which was not an easy task. On this path, Rublev developed such a perfect artistic language that throughout the entire 15th century his style became the leading one, and his personality turned out to be covered with a halo of such great glory that for a long time he was perceived as an unsurpassed ideal of an icon painter. Rublev single-handedly created those traditions of color and iconography in general, on which modern Russian icon painting relies. Rublev chose pastel colors: pale gold, light blue, smoky green. It is worth noting the minimalism of the composition and the super-expressiveness of the images associated with it. This is the culmination of hesychasm, that is, the doctrine of restraint and the primacy of the divine nature in man.

Iconography of Rus' XIV-XV centuries.

iconography(from icon and writing)- icon painting, icon painting, a type of painting, religious in terms of themes, plots and purpose. In the most general sense - the creation of sacred images that encourage prayer and worship of God.
Icon- depiction of persons and events of the sacred or church history which is an object of reverence. The icon originates in ancient Roman times, this is the time of "underground" Christianity in the catacombs, where the first images of saints were found. In the Byzantine Empire, they fought with icons, the images began to be criticized because they did not show holiness. Icons were removed from temples, but still, in conditions of low literacy of the population, the icon was the only way to comprehend the Bible.
The materials used in icon painting can be of vegetable (board), mineral (paint pigments) and animal (egg-based tempera, fish or skin glue) origin. On a wooden base with a selected recess - “ark” (or without it), a fabric is glued - “pavoloka”. Next, chalk or alabaster primer is applied - "gesso". The first stage of directly painting work is “roofing” - the laying of the main tones. Egg tempera on natural pigments is used as paint. The process of working on the face completes the imposition of "sliders" - light dots, spots and features in the most intense areas of the image. At the final stage, clothes, hair and other necessary details of the image are painted with created gold, or gilding is performed for an assist. Upon completion of all work, the icon is covered with a protective layer - natural drying oil.
The medieval icon painting style is characterized by the following stylistic features:

At the end of the XIII century. formed Novgorod school of icon painting, which flourished in the second half of the XIV - early XV century. Unfortunately, many wonderful Novgorod icons perished in the fires of medieval fires, and suffered even more during the Great Patriotic War. There is a lot of expression, emotional expressiveness, immediacy in expressing feelings in Novgorod icons. The Novgorod master preferred bright, pure, saturated colors against his favorite red background.
Close creative cooperation connected Novgorod masters with Byzantine artists, among whom Theophanes the Greek (c. 1340 - after 1405), who arrived in Novgorod in the 70s, stood out in particular. 14th century The master was distinguished by an energetic, impetuous, sketchy style of writing. Although the color of his frescoes is dominated by dark, red-brown tones. The artist models forms not so much with tone as with light - bright strokes of white reflections. This style of writing made it possible to more accurately convey the volumes of the figures and achieve amazing expression.
In the Church of the Transfiguration on Ilyin Street in Veliky Novgorod, painted Theophanes the Greek in 1378, the best preserved image Savior of the Almighty (Pantocrator), traditionally placed in the mirror of the central dome. One of the researchers noted that “the cosmic power of this image is such that the earth as a whole and the creatures inhabiting it seem insignificant. Before the face of such a Christ, no one can have any hope of mercy and salvation.” On the choirs of this church, frescoes of gray-bearded elder monks, hermits, who voluntarily took a vow of renunciation, have been preserved. They are alien to serene happiness, peace, they are used to suppressing their feelings and despair. Their faces are marked with suffering, doubt and despair. Deep-set eyes, proudly raised eyebrows, tightly compressed corners of the lips give the faces a special expressiveness and asceticism.
If you look into the face Elder Macarius of Egypt, we will feel tragedy, hidden prayer, sorrow and hope. Gray hair, watery, almost blind eyes, a wrinkled face, a desperate, detached from worldly fuss gesture of raised hands, a powerful turn of the shoulders - everything is designed to convey the former power and firmness of the elder's spirit. Once he was a famous theologian, the author of numerous theological "Conversations", and now, secluded from the outside world, he still does not find peace of mind.

Theophanes the Greek. Elder Macarius. 1378 Theophanes the Greek. Our Lady of the Don. 1392

Leaving a bright mark in Novgorod art, Theophanes the Greek painted temples in North-Eastern Rus'. There are suggestions that he also owned the unpreserved murals of the Assumption Cathedral in Kolomna. Traces of the famous master's stay are noted in Pereslavl-Zalessky and in Moscow, where, as the chronicle testifies, in 1395 he painted the Church of the Nativity, and four years later - the Archangel Cathedral of the Moscow Kremlin. In 1405, Theophan the Greek, together with Andrei Rublev, took part in the painting of the Cathedral of the Annunciation. Unfortunately, most of the works of the famous master have not been preserved.

By the second half of the XIV - the first third of the XV century. Relates heyday Moscow school of painting. The traditions of Vladimir-Suzdal icon painting had a great influence on its formation. The work of Andrei Rublev (c. 1360 \ 1370-1430) brought fame and glory to the Moscow school of painting. In outwardly calm images, he could convey a whole range of emotional experiences and feelings.
Creative manner the artist was distinguished by the softness and generalization of the silhouettes, the harmony of color, and the balance of the composition.
We know little about the fate of this greatest Russian artist. Most likely, by the time of his first mention in the annals in 1405, he was already a well-known master. The name of Andrei Rublev is associated with frescoes and the iconostasis of the Assumption Cathedral in Vladimir. One of the most expressive and soulful works - "Savior Almighty", in the image of which we are accustomed to seeing a stern and formidable face. However, here its beautiful and right face has an expression of soft tenderness, spiritual kindness and wisdom. An open meek look directed directly at the viewer does not cause fear, but trust, it is full of forgiving love and participation in the fate of people. The coloring of the icon is refined, in which transparent pink ocher is used, emphasizing the smoothness and softness of calm lines.
From the joint works of Andrei Rublev and Daniil Cherny in the Assumption Cathedral in Vladimir, icons of the deesis tier of the iconostasis have also come down to us, which constituted a single ensemble with frescoes.

The central icon “The Savior in Power” depicts Jesus Christ sitting on the throne with the open text of the Gospel. “The Savior in Power” is given symbolically, as if against the backdrop of the universe: a blue-green oval means heaven with heavenly forces - angels; a large red square - the earth with four corners, the cardinal points: East, West, North and South. The symbols of the Evangelists are painted on the corners: the angel corresponds to Matthew, the eagle to John, the lion to Mark, the calf to Luke. The artist fully managed to convey the depth and sublime nobility of the image. The clean, soft-sounding tones of the icon, its solemn and clear rhythm testify to the high skill of the artist. “The Savior in the Force” has not been completely preserved: his face has been redone, gold has been lost on his clothes, and the color has become darker. New graphs (cut lines) of clothing folds are also unsuccessful.

IN last period Andrey Rublev, together with Daniil Cherny, participated in the creation of the iconostasis for the Trinity Cathedral of the Trinity-Sergius Monastery, as evidenced by the lives of Sergius and Nikon of Radonezh.

The pinnacle of Andrei Rublev's work is the famous "Trinity" (1425-1427).
The plot of the icon is based on the 18th chapter of the book of Genesis, which describes how God, in the form of three men or angels, appeared to the forefather Abraham and his wife Sarah at the Mamrian oak.
The consubstantiality of those hypostases of God (God the Father, God the Son and God the Holy Spirit) on his icon conveyed by the fact that the figures of angels are written in exactly the same type, and they are all endowed with equal dignity. Each of the angels holds a rod in his hand - in commemoration of divine power. But at the same time, angels are not the same: they have different poses, different clothes. So, the clothes of the middle angel (red tunic, blue himation, sewn strip - clave) clearly refer us to the iconography of the Savior. Two of those sitting at the table with their head and movement of the camp are turned to the angel, written on the left, in the guise of which paternal authority is read. His head is not bowed, his camp is not inclined, and his gaze is turned to other angels. The light purple color of the clothes testifies to royal dignity. All this is an indication of the first person of the Holy Trinity. Finally, the angel on the right side is depicted in a smoky green outer garment. This is the hypostasis of the Holy Spirit, called life-giving. With imperceptible and light strokes, the great master shows us the faces of the Holy Trinity, but at the same time does not in the least violate the dogma of their consubstantiality.
No less brilliantly conveyed on the icon is inseparability. The middle angel points to the chalice on the throne. If the inclination of the heads and figures of two angels, directed towards the third, unites them with each other, then their hand gestures are directed towards the Eucharistic cup with the head of a sacrificial animal standing on a white table, as if on a throne ... it constricts the movements of the hands. We see that there are three angels, and one bowl - this is the compositional and semantic center of the icon. And here it is revealed to us that the three angels of the Great Council are in a secret conversation, a silent conversation, and its content is the fate of the human race, because the sacrificial cup is a symbol of the voluntary sacrifice of the Son!
The icon, in which there is neither action nor movement, is full of spirituality, high enlightenment and solemn peace. The artist presented here the greatness of sacrificial love, when a father sends his son to suffer for humanity, and at the same time, the readiness of his son, Jesus Christ, to suffer, to sacrifice himself to people.
There are several more symbols on the icon: a tree, a mountain and a house. The tree - the Mamvrian oak - turned into the tree of life for Rublev and became an indication of the life-giving power of the Trinity. The mountain embodies the holiness of the Trinity, and the house - God's Dispensation. The house is depicted behind the back of an angel with the features of the Father (Creator, Head of Housebuilding), the Tree - behind the back of the middle angel (the Son is Life), the Mountain - behind the back of the third angel (Holy Spirit).
According to the interpretation of the Greeks, the image of the Trinity is not only the embodiment of the Triune Deity, but also the image of faith, hope and love. For Rus', the image of the Trinity has always had a special sound. In the work of the Monk Andrei Rublev, in addition to the highest theological truths, people also saw a call to unite the country, which was formed from three main peoples. This call has not lost its relevance to this day.

Being without a doubt one of the most brilliant artists of world painting, Andrei Rublev also became the creator of the iconostasis - extremely important detail interior decoration of the temple. The first known multi-tiered iconostasis was created for the Assumption Cathedral of Vladimir in 1408 (or in 1410-11).
In the iconostasis, there are usually three doors (gates) leading to the altar: in the middle of the iconostasis, right in front of the altar - Royal Doors, to the left of the Royal Doors (in relation to those in front of the iconostasis) - North Gate, on the right - South. The side gates of the iconostasis are called deacon's doors. It is customary to open the Royal Doors only during worship (in Russian worship, only at certain moments). Only clergymen can pass through them, performing the required liturgical actions. Deacon doors can be used at any time for simple (not having symbolic meaning) entrance and exit from the altar. Also, if necessary, members of the church clergy (helping the clergy in performing the service) can pass through them. The central gate was called the "Holy Royal Doors", because through them enters the "King of kings and the Lord of lords." They served as the main entrance to the altar, symbolizing paradise, and the painting decorating them indicated this. At the top of the gates, they wrote the Annunciation, which opened the way to paradise for people, below it, four evangelists who told the world about this salvation. Above the gates they depicted a scene of communion - the distribution of the body and blood of Jesus under the guise of bread and wine.
The iconostasis, like the temple, is an image of the church. But if the temple is a space that contains believers and symbolically the entire universe, then the iconostasis shows the formation of the Church from Adam to the Last Judgment.
In its formed classical form the iconostasis reads as follows.

The scheme of the Orthodox iconostasis

The lower row of the iconostasis is called local, since this row usually contained icons revered in the area. In the middle of this row, the royal gates are located. On the royal doors you can see small icons of the Annunciation and the four evangelists: Matthew, Mark, Luke and John. To the right of the gate they usually place an icon depicting Jesus "The Savior on the Throne", and next to it is a temple icon, it tells in honor of which holiday or saint the church in which you are located is consecrated
Above the local row is usually the main row - the deesis. The word "deisis" in Greek means "prayer". In the center of the deesis is always the icon of Christ. Most often it is "The Savior in the Force". Christ sits on a throne framed by three spheres: a fiery rhombus - a symbol of Glory, a bluish-green oval - the personification of Heaven and a red quadrangle - the image of the Earth. To the right and left are icons of those who are coming and praying to Christ: on the left - the Mother of God, on the right - John the Baptist, then the archangels Michael (left) and Gabriel (right), the apostles Peter and Paul. With a larger number of icons, the composition of the deesis may be different. Either saints, martyrs, saints and any saints pleasing to the customer are depicted, or all 12 apostles are depicted. The saints depicted on the icons of the deesis should be turned three-quarters of a turn towards Christ, so that they are shown praying to the Savior.
Next tier, festive represents the New Testament Church. It includes twelve obligatory icons dedicated to the twelfth holidays. These include the Nativity of Christ, the Meeting, the Baptism of the Lord, the Transfiguration, the Entry of the Lord into Jerusalem, the Ascension of the Lord, the Trinity, the Exaltation of the Cross of the Lord, the Nativity of the Virgin, the Entry into the Temple, the Annunciation, the Dormition. Along with the main Christian holiday Easter, they are considered the most significant for Orthodoxy. But the icons included in this row also recorded events from the life of Jesus Christ that are not holidays, as well as the Passion of Christ as milestones on the path of human salvation.
Among the prophets (second from the top) on the scrolls that they hold in their hands are inscribed predictions about the Mother of God, through whom Jesus Christ will come into the world. In the center of this row is placed the icon "The Sign of the Mother of God".
Top row, ancestral, represents the Old Testament Church from Adam and Moses. The forefathers depicted here appear with scrolls in their hands, on which prophecies about the coming of Jesus Christ are inscribed. In the center is the image of the Trinity as a sign of the first Testament given by God to man. Laconic, devoid of heroic pathos and proud grandeur, the work of the ancient icon painters of Rus' still amazes with its sincerity. depth of penetration into inner world person. The painting of Feofan Grek, Andrei Rublev, Daniil Cherny for many decades to come determined the main features and poetic structure of the Moscow school of painting, gave a powerful spiritual and creative impetus to the further development of Russian fine art.

Iconostasis of the Trinity Monastery of the Holy Trinity Ipatiev Monastery. Kostroma

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Control work on cultural studies on the topic:

Achievements of icon painting inXVIcentury

Plan

1. Iconography in the 16th century

2. Famous icons of this period

Church militant

Assumption of the Virgin

Miracle of George about the Serpent

Bibliography

1. Iconography in the 16th century

Art of the 16th century connects its destinies more and more closely with the interests of the state. Over the personality of the master-creator, over the very process of artistic creation, the "topic of the day" hangs more and more strongly. In the reign of Ivan IV, the state began to directly control art. The church council of 1551 regulated not only the relationship between the master painter and his students, but also the artistic process and its results, canonizing the iconographic schemes consecrated by centuries and authorities, calling for copying the old Byzantine painters and Andrei Rublev. Such measures, of course, did great harm to art, encouraged handicraft and thoughtless repetition of "models".

In the XVI century. Moscow began to unite local art schools, which was a natural reaction in art to the unification of the country. As a result, the most remote Russian lands were able to perceive the highest achievements of metropolitan art, and in some remote northern village, an icon appeared from under the brush of a patriarchal rural master, painted according to the composition of Andrei Rublev. And the art of Moscow itself was enriched by the creative experience of Novgorod, Pskov, Tver and other highly developed Russian centers.

In the XVI century. The themes of ancient Russian painting began to expand significantly. Much more often than before, artists turn to the plots and images of the Old Testament, to the instructive narratives of parables and, most importantly, to the legendary-historical genre.

Never before has a historical theme occupied so much space in the works of icon painters. In this regard, genre, interest in everyday life more and more penetrate into artistic creativity, more and more often Russian “realities” appear in compositions. Conditional "Hellenistic" architecture is replaced by Russian icons. At the same time, in the painting of the XVI century. there is a tangible attraction to abstract “philosophizing”, to the interpretation of theological dogmas in visual images. The church and the state tightly controlled iconography, therefore, at that time, iconographic originals (collections of samples), which established the iconography of the main plot compositions as well as individual characters.

The government of Ivan the Terrible attached great importance to the exaltation of their political ideas in art. This is evidenced by the icon-picture “Blessed be the army of the heavenly king” (“Militant Church”), originating from the Assumption Cathedral of the Moscow Kremlin. Designed to perpetuate the conquest of the Kazan Khanate, it bears little resemblance to the traditional prayer image. On a compositional field very elongated in width, the artist depicted a large army, which, on three roads, on foot and on horseback, is moving away from the city engulfed in flames. The military stream, led by the Archangel Michael, rushes to the "city" on the other side of the composition, from where the Mother of God with the Infant Christ blesses the marchers. This is how the tsarist icon painter “saw” the solemn return of the Russian army from Kazan to Moscow, presenting it as the apotheosis of the “army of the heavenly king”, moving from the defeated “wicked city” to “mountain Jerusalem”. On the icon, the direction of movement opposite to the usual one is taken - from right to left, which makes it slower and more ceremonial. And light angels in bright clothes with crowns in their hands, taking off towards the soldiers, help to achieve dynamic balance in the image. Ivan the Terrible himself rides in front of the middle regiment or in its center with a scarlet banner, in royal attire, with a cross in his hands. In the ranks of the holy army are the famous Russian princes and commanders, the ancestors of the young tsar, as well as the "universal holy warriors" and Russian warriors who laid down their heads near Kazan and became like the ancient martyrs. A river flows at the feet of the riders. Nearby is a dried up spring. It symbolizes the fallen "second Rome" - Byzantium. The full-flowing spring symbolizes the "third Rome" - Moscow.

2. Famous icons of this period

Tse iconpcow militant

Today, a fresco depicting the Blessed Tsar John IV from the Faceted Chamber of the Moscow Kremlin is widely known. However, besides it, there are several more images of the 16th-17th centuries, on which we can see this Sovereign.

The first and key in this series is the icon “Blessed be the army of the Heavenly King” (later called the “Militant Church”), which is currently on display at the State Tretyakov Gallery.

The icon was created for the Assumption Cathedral of the Moscow Kremlin. Shortly after the crowning of the kingdom (1547), by order of the Tsar, the Tsar's Molieben Place was completed and installed in the Assumption Cathedral (1551). Once a prayer-like place was located in the main cathedral Byzantine Empire- Hagia Sophia in Constantinople. The Emperor ascended to it after the Sacrament of Confirmation was performed on him during the Sacred Crowning to the kingdom. The icon constituted a single ideological and cultural complex. Located near the Tsar's Place, it was always accessible to the gaze of the first Russian Tsar, the Anointed One of God, during Divine services. However, it did not serve to "remember" greatest victory Sovereign, but for a constant, daily reminder to the Anointed of God of his duty to the Church of Christ and the people of God: to defend the purity of the Orthodox faith, to serve as the defender of the Orthodox throughout the world.

This mission is illustrated by the exodus of the Church, the people of God, from the Doomed City to the New, heavenly Jerusalem depicted on the icon. Apocalyptic motifs are combined in the icon with the memory of a specific historical event: the conquest of the Kazan kingdom.

The whole appearance of the figure in the center of the icon testifies that before us is the Tsar [John the Terrible]. A significant part of the Saints depicted on the icon are the Holy Princes of the northwestern, Vladimir Rus', the ancestors of John IV. The whole logic of the idea embedded in this icon requires that in its center was not the Greek Tsar, even St. Constantine the Great Equal to the Apostles, not Vladimir Monomakh, but the Moscow Tsar, the first Anointed of God on the Russian throne. All architecture, all painting of this period was conceived and created as a monument glorifying the greatest event in the history of Muscovite Rus': the crowning of John IV, which marked the end of the hundred-year comprehension by the Russian people of the process of transferring the mission of “holding” from Constantinople to Moscow.

Without a doubt, the image of the Tsar is idealized and it contains the features of his ancestors and forerunners in the service of the Church of Christ, including the features of the Holy Tsar Constantine, and the Holy Equal-to-the-Apostles Prince. Vladimir, and Vladimir Monomakh. This similarity organically follows from the idea, according to which "the Orthodox Sovereign was called to bring the Sacred World Order into the darkness and chaos of the pagan Kazan land." Just as Tsar Constantine carried it - to the Roman Empire, St. Prince. Vladimir - to pagan Rus'. The ideal that accompanies this service has left its mark on the image of all the Holy rulers. …

The cross in the hand makes the identification of this figure as John IV even more probable. The fact that the cross has the meaning not of a confession of faith, but of the insignia of the Royal Authority, replacing the scepter in the above-described images of the Moscow princes of the XIV-XV centuries, only confirms the possibility that this icon-painting tradition was preserved when writing this image. In addition, we know that, setting off on the Kazan campaign, John ordered the cross to be approved on the Tsar's banner with the Savior Not Made by Hands. It is unlikely that a contemporary icon painter could pass by such a fact. And there is nothing strange in the fact that he (and we must remember that it is very likely that the sketch was drawn up by the hand of St. Macarius himself) reflected this fact in the “artistic” description of the Kazan campaign - the icon “Blessed is the army of the Heavenly King”. It is worth mentioning here that on the icon of the 17th century “Holy Blessed Tsarevich Dimitry, Wonderworker of Uglich and Moscow”, the son of Ivan the Terrible is depicted with exactly the same cross ... In any case, the cross in the Tsar’s hands further confirms the version that that this is an image of Ivan the Terrible. …

Another detail of the imperial clothes attracts attention. This is a "loros" - a ribbon worn over a dalmatic and thrown over the arm of a royal figure like an orarion of a subdeacon. The same ribbon was depicted on the icons of the Saints - Byzantine Emperors... John the Terrible was also perceived by the Emperor not only by his subjects, but also by the subjects of some other states. From the point of view of the universal Orthodox Church... he was the Emperor of the only Orthodox Empire on earth. Thus, King John had all rights to the loros.

On the icon “Blessed be the army of the Heavenly King”, the image of the Archangel Michael belongs to the “military” type - he is armed with a naked sword and dressed in armor. On the other hand, the figure of the Tsar bears those attributes that are due to the Archangel: a staff-cross and a loros. If we recall that John Vasilyevich compiled the “Canon to the Terrible Governor’s Angel”, and he himself was nicknamed the Terrible for the Kazan campaign, then the analogy suggests itself. Archangel Michael leads the host of Heaven, and the Tsar-archistratig leads the host of the earth.

If we remember how important the Kazan victory was for the entire Russian state, what role Tsar John played in it, and that this victory became the reason for painting the icon, then there is nothing strange that the kind, Byzantine tradition was revived on Russian soil.

Icon of the Dormition of the Virgin

An interesting iconographic feature is the icon of the Assumption of the middle of the 16th century from the Vladimir-Suzdal Museum-Reserve. If in all the monuments discussed above, Christ was most often depicted frontally, holding the soul of the Mother of God with both hands, then here He is represented in a spread, blessing the Mother of God lying on the bed with her right hand. This detail, apparently, appears in the "cloudy" version of the Assumption in the first half of the 16th century and was widely distributed in the 16th-17th centuries. Blessing the Mother of God the Savior is also represented on the icon of the 16th century from the collection of the Russian Museum. It also depicts the ascension of the Mother of God, seated on a throne, to the open gates of paradise, beyond which one can see angelic ranks, Heavenly city (in the form of a cruciform tower) and several trees of paradise.

In the 16th century, the placement of the scene of the Assumption in the murals of temples is also associated with the paradisiacal symbolism. So, in the scenery of the Archangel Cathedral of the Moscow Kremlin and the Assumption Cathedral in Sviyazhsk, this plot is placed above the conch of the altar, which allows us to interpret this composition based on the idea of ​​the symbolism of the altar space as a heavenly, heavenly place.

Icon of the Miracle of George about the Serpent

The miracle of George about the serpent is the salvation of the princess from the serpent (dragon), described in the life of the holy Great Martyr George the Victorious, performed by him, according to most instructions, after death. It was reflected in the iconography of this saint, becoming his most recognizable image.

The legend about the killing of a serpent by George is of Eastern origin. It is noted that it goes back to pre-Christian cults. ancient mythology knows a number of similar plots: Zeus defeats Typhon, who had a hundred dragon heads on the back of his head, Apollo defeated the dragon Python, and Hercules over the Lernean Hydra. The closest in plot to the miracle of George about winter is the myth of Perseus and Andromeda: Perseus defeats the sea monster and saves the princess Andromeda, who was given to him to be devoured.

The miracle of George about the serpent has an allegorical interpretation: the princess is the church, the serpent is paganism, that is, George, killing the dragon, saves the Christian church from the pagans. Also, this miracle is seen as a victory over the devil - "the ancient serpent."

"The Miracle of St. George about the Serpent" has become one of the favorite subjects of ancient Russian painting. Like all plots, it was strictly canonized, and the icon-painting original speaks of how this episode should be depicted on icons:

“The miracle of St. George, how to save the girl from the snake, is written like this: the holy martyr George sits on a white horse, having a spear in his hand and pricked the serpent in the larynx with it; and the serpent came out of the lake very terrible and great; the lake is great, near the lake there is a mountain, and in another country there is a mountain, and on the breeze of the lake stands a maiden, the royal daughter, the robe of the royal grandeur is on her, she holds a snake with a belt and leads the snake into the city with a belt, and another girl closes the gates of the city; the city is surrounded by a fence and a tower, from a tower the tsar looks, in the image of the Rus, the brada is small and the queen is with him, and behind them are the boyars, warriors and people with axes and spears.

The icon-painting original gives the canvas, the general provisions of the depicted episode, but if we compare the icons of the 14th, 15th, 16th centuries depicting the "Miracle of George about the Serpent", then we will be amazed at how Russian masters, within the framework of a given content and canonical form, managed to create so different, so dissimilar works.

The plot is easily recognizable: a rider in a red cloak on a white horse pricks a snake with a spear. Here there is room for the imagination of the ancient masters, there is poetry, fabulousness, and at the same time a universal meaning: good triumphs over evil. Not without reason on these icons George the Victorious "... is given as the bearer of a good, bright beginning. In his dazzling brilliance there is something thunderous, something that likens it to sparkling lightning. And it involuntarily seems that there is no such force in the world that could stop the swift run of this victorious warrior."

The icon composition "George's Miracle about the Serpent" is available in an abbreviated version and in an expanded one. The abbreviated version depicts only George on horseback slaying a serpent. In the right corner there is usually a segment of the sky, in which there is either Christ blessing the Victorious, or His hand.

In the extended version, there is also a princess leading a pacified monster on her girdle to the city; and a tower with the king, queen and entourage, watching the events taking place from a height, and the people marveling at the miracle. Sometimes an angel flies at the head of George, crowning the Victorious with a crown.

An early 14th-century icon from the Russian Museum in St. Petersburg presents just such an extended version of the miracle, with Princess Elizabeth named Elisava in the inscription. Her relatives and the bishop watch from high tower like a girl leading a submissive monster on her girdle. George on a white horse clearly stands out against a red background, overwhelming with his size both Elisava with a serpent, and even a tower with the princess's parents. The terrible monster has lost its formidability, and George, although he holds a spear in his right hand, is not warlike. He calmly accompanies the pacified monster, which has become tame, and the fragile girl to the city: the deed is done, the main moment of the battle is over, peace and peace come.

The icon is also notable for the fact that around the centerpiece there are stamps with the life of the saint, and most of them are dedicated to his torment: they quarter George, beat him, put stones on him, put him in a cauldron of boiling water, saw his head, burn candles. The Great Martyr is firm in his faith, and his countenance in every brand remains invariably calm.

Or here is another Novgorod icon "The Miracle of George about the Serpent" of the 16th century from the Tretyakov Gallery. Here the plot is given in a brief edition: St. George on a white horse, half-turning back, stabs the snake with a spear in the mouth. There is nothing else on the icon, only in the upper right corner from the segment of the sky is visible the blessing hand of the Lord. But how expressive, how beautiful this icon is! Describing it, the famous art critic M.V. Alpatov is amazed at the amazing courage of the master in dealing with traditional iconographic motifs, the inexhaustibility of his imagination, the richness and integrity of the pictorial image he created.

"... The red cloak flutters on the icon, like a scarlet banner, trembles like a fiery flame - it clearly expresses the" fiery passion "of the hero, and in contrast to the cloak White horse looks like a symbol of his spiritual purity. At the same time, with its silhouette, the horseman merges with the banner, and therefore his figure seems to be winged ... ".

Behind George is a shield decorated with a human mask and at the same time similar to the sun. Perhaps, in this detail of the icon of the 16th century, the ancient beliefs of the Slavs were reflected: after all, George came to replace pagan gods, and some consider him the heir to the Yarila-Sun, others - Perun and Dazhbog, still others - Svyatovit, and still others associate the Christian saint with the solar equestrian god Khors.

Most likely, on Russian soil, St. George absorbed the purest and brightest qualities of many ancient pagan gods.

Icon of the Presentation of the Lord

The first version includes an icon from the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra, an icon from the collection of Pavel Korin (both - the 15th century), an icon of the Presentation from the festive tier of St. Nicholas Church in Lyubyatovo (c. 1530s - 1540s). In the latter, the Old Testament tablets are depicted on the throne, which indicates the fulfillment of the Old Testament legislation and emphasizes the significance of the event as a connection between the Old and New Testaments. There are numerous examples of images on the throne of the Gospel. This iconographic detail, which does not correspond to historical reality and Old Testament worship, emphasizes the onset of the New Testament era, which was marked by the appearance of the Redeemer into the world. (ill.3) In the Presentation on the Vasilyevsky Gates, made in the complex technique of gold guiding on copper plates (1336, Trinity Cathedral in Alexandrov), not only the Gospel with a cross on the front side, but also other liturgical objects are on the throne - chalice and star.

Most often, the depicted altar is covered with a red cloth. On the Novgorod icon of the 16th century from the collection of icons in Amsterdam, a seven-pointed cross is depicted on the fabric. The uniqueness of the iconography of the image lies in the touching detail - in his hands, folded on his chest as a sign of humility, Christ holds one of the sacrificial doves. In ancient Russian art, another example of the image of the Christ Child with a bird in his hand is known. On the miraculous Konevskaya Icon of the Mother of God, known in Russia since the 14th century and, according to legend, brought to St. Anthony from Athos, Jesus holds a dove in his left hand.

As for the other version of the iconography of the Presentation, it was no less popular in Rus'. On a fresco from the Church of the Assumption on the Volotovo Field (Novgorod, mid-14th century), Simeon with the Child in her arms is shown behind low behind closed doors leading to the Holy of Holies. The prophetess Anna with an unfolded scroll with the text in Greek “This Child created heaven and earth” is depicted standing not behind him, as was customary, but between the Mother of God and St. Joseph on the left side of the scene. On the icon of the Presentation from the Transfiguration Cathedral of Tver (circa 1450), kept in the State Russian Museum, and on the tablet icon from the Sergiev Posad Museum (late 15th - early 16th century), Mary holds the Child in her arms, and Simeon is depicted welcoming them at the entrance to the temple. Since the old man is standing on high steps, he bows down to the Infant with reverence as low as possible.

Bibliography

1. Gassel A Orthodox icon: Meaning. Symbolism. Plots

2. Kondakov Nikodim Pavlovich "Russian Icons"

3. V. V. Bychkov "The Phenomenon of the Icon"

In iconography of the 1st half. 16th century some features of Dionysian painting were steadily preserved, but by the middle of the century the coloring became darker, instead of light or gold backgrounds, they began to willingly use dark olive (green) backgrounds. Although such a background was often originally intended for a salary, the general gloomy color scheme is noticeable. Masters prefer dark cherry, gray-green, black, deaf ocher from yellow-brown to dark brown. Faces are also written in dark ocher on dense dark green sankir. Cold bluish spaces and rare accents of scarlet cinnabar create a feeling of inner tension (“St. John the Baptist” from the Makhrishchsky monastery (see Stefanov Makhrishchsky monastery), TsMiAR, inv. 261). The iconography is becoming more complex, including renditions that are not very common or generally unknown in the Moscow tradition. Such changes in Moscow art, obviously, were the result of not only a change in the “spirit of the era”, but also the influence of Pskov and Novgorod art as a result of an invitation to Moscow after the fire of 1547 icon painters from Novgorod and Pskov.

In the middle of the century, interest in theological issues increased. Increased attention to sacred texts, including the Old Testament ones, caused the spread of new and iconographically complex works of iconography. Some part of the society perceived this as a violation of canons and traditions: the clerk I. M. Viskovaty, close to the tsar, actively opposed the icons painted by the Pskovites Ostany, Yakov, Mikhail, Yakushka and Semyon, nicknamed the High Verb for the Kremlin Annunciation Cathedral. Viskovaty was confused by some plots and iconographic details - the image of God the Father before the Incarnation of Christ, Christ - in an angelic image or in the guise of a warrior. In addition, Viskovatyy insisted on a strict unification of iconography: “... otherwise they would write with one sample so that it would not be tempted, otherwise there would be one icon in one porch, and another in the church, then it was written, and not with that type” (quoted from: Macarius (Veretennikov), Archimandrite Metropolitan Macarius of Moscow and his time: Sat St. M., 1996, p. 231). However, the Council of 1554, headed by St. Macarius (who himself was engaged in icon painting), refuted most of Viskovaty's objections and emphasized the fundamental admissibility of images based on the evidence of the VZ, as well as on the works of the Church Fathers. Russian icon painting at that time was enriched with many works of liturgical themes (“It is worthy to eat”, “Come, people, let us bow to the Trinitarian Divinity”, “In the tomb of the flesh”, “Only Begotten Son”, “Blessed is the army of the Heavenly King”, etc.). The last icon from the Dormition Cathedral of the Moscow Kremlin (now in the State Tretyakov Gallery, inv. 6141), also known as the Militant Church, was painted on the text of the stichera from Oktoikh, but included both apocalyptic motifs and, possibly, historical allusions ( parallel with the military campaigns of Ivan the Terrible against the Kazan and Astrakhan Tatars - the enemies of Christianity).

The system of temple painting has also undergone changes. In the Assumption Cathedral of Sviyazhsk (1561), the composition “Fatherland” depicting heavenly forces first appeared in the dome (perhaps under the influence of the work of St. Dionysius the Areopagite), and on the vaults there are scenes from the Book of Genesis about the creation of the world and the life of the ancestors in paradise and on earth , thus, the theme of the Incarnation of the Son of God directly correlated with the themes of the fall and redemption. The composition “Christ in the womb of the Father” was placed on one of the arches, the “Eucharist” in the altar was replaced by the “Great Entrance”, or “Heavenly Liturgy”, which emphasized the theme of the Eucharistic unity of the Church (visible participation in the liturgy of the heavenly powers). In other ensembles monumental paintings 2nd floor. XVI - beginning. 17th century there are iconographic features associated with the appointment or dedication of the temple (the cycle of princely portraits and deeds of Michael the Archangel in the grand ducal tomb - the Archangel Cathedral of the Moscow Kremlin, the cycle of deeds of the Holy Trinity in the Holy Trinity Church in Vyazemy); common feature temple paintings of this period is the complication of their programs, interest in symbolic and dogmatic aspects.

To the beginning 16th century the first mention of a tombstone icon portrait of a secular person refers to: over the coffin of the Ruza prince. Ivan Borisovich in the Assumption Cathedral of the Joseph-Volokolamsk Monastery there was an icon by the elder Paisius “Ivan the Theologian and the Savior in the cloud, and behind the Theologian on that icon is Prince Ivan Borisovich” (quoted from: Popov. Painting and Miniature of Moscow. P. 76) . 70s 16th century date tomb icon from the Archangel Cathedral of the Moscow Kremlin (State Historical Museum, Inv. And VIII 3423/29172) depicting St. Basil of Pariah (according to a later inscription - St. Basil the Great) and Basil III, coming to the icon of the Mother of God "The Sign". Ivan the Terrible asked the Stoglavy Cathedral (1551) a question about the admissibility of depicting living people on icons; it is assumed that in the groups of worshipers on some icons (“Four-part”, “Our Lady of Tikhvin” in the Annunciation Cathedral of the Kremlin) Ivan the Terrible and members of his family are represented. Image on the icon specific people, both the deceased and the living, testifies to the desire for closer prayerful communion with the inhabitants of the heavenly world, to a deep faith in the closeness of the saints, in their accessibility to the one who prays.

In the workshops of St. Macarius, starting from his stay at the Novgorod department, a huge work of illustrating books unfolded. The central place among the manuscripts of the 2nd half. 16th century occupies Facial chronicle, which included approx. 16 thousand miniatures. In the strict sense, it does not apply to church art, but miniatures from the initial volume devoted to biblical history were used as models by icon painters (for example, in the Church of the Holy Trinity in Vyazemy). Miniaturists strove for a fairly detailed description of the circumstances and scene, which led to the complication of architectural and landscape backgrounds, to the stratification of space. Lack of own pictorial tradition for a number of subjects caused during this period an appeal to Western European engravings by A. Dürer, M. Wolgemuth, G. Z. Beham, G. Holbein Jr., etc. Engravings were copied fragmentarily: architectural motifs, images of ships, individual figures or groups of figures were mainly reproduced (illustrations for "The Word of St. John the Theologian on the Assumption of the Most Holy Theotokos", "The Word for the Nativity of St. John the Baptist", "The Tale of the Miracles of the Great and Glorious Archangel Michael" - all in the Yegorovsky collection, RSL. Yegor. No. 1844; Life of St. St. Nicholas the Wonderworker, RSL, Music No. 15). The use of Western sources in icons and frescoes of the 2nd floor. 16th century occurs as an exception and is also associated with the task of illustrating new subjects for Russian icon painting. Foreign figurative sources acted, thus, as additions to the facial originals, without changing the nature of Russian church painting.

The most important innovation that influenced Russian fine arts was the appearance in the 50s and 60s. 16th century book printing, designed to provide the Church with liturgical literature (especially in connection with the growth of the territory of the state and the need for Christianization of the newly annexed regions). Even before the organization of the printing house by Ivan Fedorov, several editions (Gospels, Psalms and Triodies) were published in Moscow, called "anonymous". Although the activity of Ivan Fedorov in Moscow was short-lived (1564–1565), the Apostle he published had a strong influence on the design of subsequent Moscow publications. However, it should be noted that this influence affected almost exclusively in the field of iconography, and not the interpretation of form. The figure of St. the Evangelist Luke on the frontispiece is enclosed in an arched frame, borrowed from an engraving by E. Shen from the Nuremberg Bible of 1524 (possibly through Czech mediation); both the image of the evangelist and the arch with ionics and typically manneristic fanciful columns are quite close to Western European originals. The frontispiece of the Apostle Andronicus Nevezha (1597) is a recognizable copy of Fedorov's frontispiece, but the figure of St. Luke is solved in a completely traditional icon-painting manner, contour drawing resembles a graphic drawing, and the order forms of the frame turn into a purely decorative pattern. This confirms the thesis about the fundamental impossibility of borrowing a new artistic language: only individual motifs can be borrowed, and the language itself as a system is developed only within a given culture based on its own needs and tasks.

Obviously, iconography in the XVI century. has become quite widespread which could not but lead to a decrease in professional level and involuntary deviations from traditional iconography. From the materials of the Stoglavy Cathedral, it is known about self-taught masters who painted cheap icons for peasants “not in the image” (perhaps, the birth of icon painting in Suzdal villages dates back to this time). The council outlined the requirements for the moral character of painters, pointed out the need for training “from good masters” and signing “from good samples”, and adopted a resolution on control over icon painting, although such control was obviously impossible throughout the country. It is noteworthy that a God-given talent for painting, which not all students have, was also recognized as a necessary quality for painting icons: “... to whom God will give, teach to paint in the image and likeness, and he would paint. And to whom God will not give, stop them from such a thing in the end ... not be an icon painter for everyone ”(Stoglav: Cathedral, which was in Moscow under the great sovereign and Grand Duke Ivan Vasilyevich (in the summer of 7059). St. Petersburg, 1997. P. 126 ).

In painting, con. 16th century In parallel, there were two directions, conventionally called the "Godunov school" and the "Stroganov school". Both of them are represented by the work of the tsarist masters, but the "Godunov school" is characterized by somewhat cold representativeness and monumentality (the iconostasis and murals of the Cathedral of the Smolensk Icon of Our Lady of the Novodevichy Monastery), and the "Stroganov" - chamber, subtlety and miniature painting. The saints on the "Stroganov" icons, as a rule, are depicted not frontally, but in a three-quarter turn, facing the Savior, the Holy Trinity or the Mother of God, which are presented in the upper part of the picturesque field. Such a composition clearly expresses the intercession of the saint for the one who prays (usually these are saints named after the patrons). Often, figures of kneeling forthcoming ones were introduced, reinforcing the theme of fervent prayer. The fragility and grace of elongated figures, the sonority of colors with an abundance of bright ocher and cinnabar go back to the traditions of Dionysius; significant development received architectural and landscape motifs. Objectively "Stroganov" icon painters - Istoma Savin, Semyon Borozdin, Emelyan Moskvitin, Prokopy Chirin - conveyed the beauty of the created world in their painting; on the other hand, the asymmetrical compositions, the unstable postures of the saints, and the abundance of "empty" dark backgrounds suggested the fragility of earthly existence.