Museum of ancient Russian culture. Andrei Rublev (Moscow, Russia) - exposition, opening hours, address, phone numbers, official website.
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In 1947, in the wake of the post-war patriotic upsurge, in the year of the celebration of the 800th anniversary of Moscow, the Museum named after A.I. Andrei Rublev. By the time the Museum was founded, the monastery was completely ruined, the museum collection was collected literally bit by bit, in an environment of extremely negative attitude of the state towards the national religious heritage. Collected works often required careful and many years of restoration. Nevertheless, 13 years later, on September 21, 1960, the Museum was opened and presented to the visitors in a hall with dozens of icons opened from late recordings and dirt, murals and works of arts and crafts taken from the walls of destroyed temples.
The museum's collection contains more than 5,000 icons, including works by Dionysius, as well as liturgical objects, handwritten books and frescoes.
The Andrei Rublev Central Museum of Ancient Russian Culture and Art is the only special museum in Russia dedicated to the Russian artistic culture of the Middle Ages. The museum is located within the walls of the Spaso-Andronikov Monastery, where the great Russian icon painter Rev. Andrei Rublev lived, worked and was buried.
On the territory of the monastery, the oldest stone church in Moscow, the Spassky Cathedral, built during the life of Andrei Rublev in the first quarter of the 15th century, has been preserved.
The museum offers visitors a variety of sightseeing and thematic tours, as well as special programs for children and adults. Highly qualified specialists of the museum conduct an examination of works of ancient Russian art.
The Andrei Rublev Central Museum of Ancient Russian Culture and Art is the only state specialized museum of Russian church art of the Middle Ages and Modern times.
The museum is located within the walls of the famous Spaso-Andronikov Monastery, where the great icon painter Andrey Rublev painted the Cathedral of the Savior, now the oldest temple in Moscow. The museum has a rich collection of iconography from the 12th to early 20th centuries. In 2017, the museum celebrates the 70th anniversary of its foundation.
In 1947, in the wake of the post-war patriotic upsurge, in the year of the celebration of the 800th anniversary of Moscow, the Museum named after A.I. Andrei Rublev. Its first director was D.I. Arsenishvili (1905-1963), the first researcher - an outstanding expert on the work of St. Andrey Rublev N.A. Demina (1904–1990).
By the time the Museum was founded, the monastery was completely ruined, the museum collection was collected literally bit by bit, in an environment of extremely negative attitude of the state towards the national religious heritage. Collected works often required careful and many years of restoration.
Nevertheless, 13 years later, on September 21, 1960, the Museum was opened and presented to the visitors in a hall with dozens of icons opened from late recordings and dirt, murals and works of arts and crafts taken from the walls of destroyed temples. Collecting activities and restoration work continue to this day and are an integral part of everyday museum life.
Now the exposition occupies all the rooms of the refectory chamber and the Church of the Archangel Michael, restored and accessible for inspection. An exhibition hall is located in the Rector's building.
Working mode:
- Monday, Tuesday and Thursday from 14:00 to 21:00;
- Friday, Saturday and Sunday from 11:00 to 18:00;
- Wednesday is a day off.
The territory of the Museum is open daily from 9:00 to 21:00.
Ticket price:
permanent exhibition
- for foreign citizens - 400 rubles;
- for citizens of the Russian Federation and CIS countries - 299 rubles;
- reduced ticket - 150 rubles.
Temporary exhibitions
Tickets for temporary exhibitions are sold separately, the cost may vary depending on the exhibition.
Maria Golovina reviews: 1 ratings: 1 rating: 0
Great place! Russian history!
I spent more than two hours at the exhibition - at first I listened to the tour (it’s inexpensive and you don’t have to book in advance), then I couldn’t leave, I kept looking and thinking - Lord, this is where you need to take your children (grandchildren) to show what we have lost, what a great was Russia
Nadezhda Nikolaeva reviews: 14 ratings: 14 rating: 0
Icons of the era of Nicholas II
On a wonderful, rainy day in July, I went to the opening of the exhibition "Icons of the era of Nicholas II", dedicated to the 100th anniversary of the martyrdom of Emperor Nicholas II and his family. The exhibition opened at the Andrei Rublev Central Museum of Old Russian Culture and Art, which is located within the walls of the famous Spaso-Andronikov Monastery, where the great icon painter Andrei Rublev painted the Cathedral of the Savior, now the oldest temple in Moscow.
I was a little elated from the anticipation of meeting with the beautiful, and a little sad from the realization that 100 years have passed since the day when the last Russian Emperor Nicholas II, along with his family and servants, was shot. Now we are all aware of the cruelty of that time.
“The exhibition presents high-quality works of icon painters and jewelers - suppliers of the imperial and grand ducal courts, such as V.P. Guryanov, I.S. Chirikov, M.I. Dikarev, D.L. Smirnov, O.F. Kurlyukov, Carl Faberge, I.P. Khlebnikov.
The first section of the exhibition contains memorial icons associated with important events in the life of the imperial family.
The second hall presents works reflecting the history of the glorification of Russian saints - Seraphim of Sarov, Theodosius of Chernigov, Joasaph of Belgorod and others, which took place with the personal participation of the emperor, as well as icons provided by the Russian Orthodox Old Believer Church. After all, the true flowering of the Old Believer icon painting occurred after the publication in 1905. The Imperial Manifesto on Tolerance, which gave the zealots of the old faith the opportunity to openly confess it, serve in old churches and build new ones.
In the last section of the exhibition, the tragic events of the First World War and the revolution are reflected in icon painting. During the First World War, the iconography of Our Lady of Augustus (“The Appearance of the Mother of God to Russian Soldiers in the “August Forests”) took shape and became widespread. Its composition was based on the testimonies of eyewitnesses who saw the image of the Mother of God in the night sky on the eve of the battle near the town of Augustow in September 1914.
Many icons use tempera paints based on crushed minerals, the same paints have been used since ancient times, and the technique of tempera painting is rightfully considered one of the most ancient and difficult to master, since tempera paints dry differently than more familiar oil paints.
Experts say that under favorable conditions, without temperature and humidity fluctuations, icons painted with these paints will be in good condition for at least 200-300 years, that is, more than one human generation.
The exhibition also presents especially valuable jewelry. "A unique exhibit is the last Faberge Easter egg for the Imperial House, work on which remained unfinished, since the royal family celebrated Easter 1917 in captivity in the Alexander Palace of Tsarskoye Selo. This Easter egg, called the "Constellation of the Tsarevich", presents an accurate map of the constellations who were above the horizon at the second of the birth of the Tsarevich"
The icons presented at the exhibition are beautiful and picturesque, as if invisible, divine light emanates from them. There are no words to convey the whole gamut of feelings and sensations that I experienced, from sadness to complete admiration, it is difficult to stand in front of the icons and think about the eternal, since there are a lot of visitors at the exhibition. The exhibition will run until October 23, 2018.
Tatiana reviews: 122 ratings: 122 rating: 16
The opening of the exhibition "Northern Expeditions" in the Andrei Rublev Museum was timed to coincide with the Night of Museums, which was held under the motto "Masterpieces from the storerooms". It is no secret that museum funds are much larger than the volume of exhibits that are on display. And it does not mean at all that in the storerooms there are things that are not valuable or of interest to the general public. Perhaps there is simply no place, or there is no way to bring it to a state for exhibiting - it needs to be restored, for example.
And this night of museums is an occasion to show such exhibits to museum visitors.
And now the exhibition "Northern Expeditions" in the Andrei Rublev Museum presents icons that have never been exhibited. For icons, restoration is very important. And some of the icons presented here began to be restored only for this exhibition. Although they were brought to the museum half a century ago!
The opening of the exhibition was preceded by the presentation of the book-catalog of this exhibition, in which, in addition to the list of icons, the memoirs of the expedition members were also printed.
The exhibition presents icons brought to the museum as a result of expeditions carried out from 1963 to 1971.
And the participants of those expeditions performed at the presentation of the catalog!! Gennady Viktorovich Popov, Lilia Mikhailovna Evseeva, Igor Alexandrovich Kochetkov, Alexander Alexandrovich Saltykov. The stories were different, but permeated with an explosive mixture of adventurism and purity of intentions. Do you think finding and revealing a valuable icon is the job of expeditions? Icons still need to be delivered to Moscow!
Decommissioned burlap is an excellent material for packing valuable icons. How to get eggs to strengthen the painting on the icons, with a total weight of 600 kg, before being sent to Moscow?
And here we have the result at the exhibition - a collection of icons. Some of which are exhibited half-restored - but you can see the real result of the work of the restorers.
Icons of the 16th - 19th centuries are presented.
Andrey Travin reviews: 49 ratings: 49 rating: 10
On March 6, a one-room exhibition was opened in it, entirely dedicated to the monument of the Old Believer book culture - the illustrated Book of Revelation (Apocalypse). At the same time, it is a monument to Pomorye's bookishness.
The title of the exhibition is “Wonderful Apocalypse”, although such an epithet would rather suit specifically New Jerusalem, it needs no explanation. But the subtitle "front manuscript" needs to be explained. “Front” means a book with pictures, with the faces of the characters.
The illustrative cycle of the manuscript is based on the Apocalypse from the so-called Collection of the Chudov Monastery, created under Ivan the Terrible by an anonymous master. The illustrations convey the text very accurately. But it is this artist who uses the tulip as a personal highlight, which unobtrusively adds here and there to the images.
The decor is based on the early printed style of the 16th century (to put it simply, the style of the books of the first printer Ivan Fedorov).
Before us is the Apocalypse Three-interpreter. That is, for each fragment, three interpretations are given.
In his Commentary, Andrew of Caesarea divided the text of Revelation into 72 chapters (I had never heard of such a fact before). Well, in any case, this is one of the three interpreters. Who are the rest - has not yet been established, because they simply did not reach their hands.
The Old Believers attached such importance to the Book of Revelation as if it were describing the events of their time. They were waiting for the imminent arrival of the Antichrist, they were looking for signs of the Laodicean Church (Rev. 3:14-22) in the then Russian Orthodox Church. And so, I think, they invested in the production of such resource-intensive books, probably made to order.
livejournal.com reviews: 124 ratings: 124 rating: 34
"The abyss has opened, full of stars" - this is how I can briefly describe my impressions of visiting the Andrei Rublev Museum, officially called the Andrei Rublev Central Museum of Ancient Russian Culture and Art.
Let's start with the fact that the museum itself is located on the territory of the Spaso-Andronnikov Monastery (founded on this site in the 14th century), and the exposition itself occupies the premises of the Church of Michael the Archangel (1691-1739). This is very successful, in my opinion, because. The main part of the museum's collection is made up of icons and other objects related to religion. Several amazing discoveries awaited me at this place, I will try to tell you about them in order.
We came here for the opening of the exhibition" Apocalypse wondrous", which is dedicated to a remarkable monument of the Pomeranian Old Believer book culture of the late 17th - early 18th centuries - an illustrated manuscript of the Book of Revelation of John the Theologian. But the first thing we saw (and were amazed at the impression made) was the hall of icons of the 16th century.
Pay attention to the background on which the icons are located. I think this is an absolutely wonderful find. The fresh color of the young foliage is incredibly suitable for the icons of the 16th century, in which there is a lot of the same tenderness, strength and freshness. A little later, the museum staff told us that the color space is the idea behind the new design of the museum. Each hall is dedicated to icons of a certain period. And the background color not only makes it easier for the viewer to assign paintings to a particular century, but is also chosen in accordance with the color preferences of icon painters. For example, noble dark green was chosen for the 18th century, deep blue for the 19th century.
Here I was interested in an unusual icon of the Mother of God, around the image of which there are many symbols. This is where you realize how much the average person of the 19th century was more versed in symbolism than the same person of the 21st century ... It would be very interesting to decipher all these small images in circles.
All the halls mentioned (green and blue) are on the second floor, but don't think that's all. The first floor is dedicated to the most ancient and valuable icons (they are on a red background), and if you go higher, you can see a rare wooden sculpture (in my opinion - charming and very interesting), and even higher - the frescoes of the altar, transferred here from the destroyed temples ( the photo does not convey the atmosphere at all, so come see with your own eyes).
But back to the subject of our original curiosity. Those. to the Old Believer manuscript. It is worth noting that this exhibition is unique - it presents only one exhibit, but you can see almost all the pages in detail. Of course, no one will allow you to flip through an old copy, but you can look at miniatures and texts as much as you like on a large screen nearby.
The initial miniature shows John the Theologian with an angel descending to him, sent by the Lord to show the Revelation about "what must be soon." And it is this future that we see further through the eyes of John. By the way, looking at the miniatures turned out to be very exciting. The manuscript is made with great love, each sheet is framed, the headpieces impress with a lush pattern, the headings are neatly drawn in cinnabar.
Miniatures of the "Apocalypse" consistently reveal the contents of the book of Revelation of John the Theologian. The main cycle of the Apocalypse is made up of 72 miniatures accompanying each chapter. So even an illiterate person, leafing through a book, would understand a lot for himself. By the way, pay attention to the images of tulips. Tulips are something like an artist's mark. There are quite a few of them throughout the manuscript.
The mysterious content, vivid images, and numerical symbolism of the Apocalypse led to the appearance of an extensive interpretative literature. The most famous and popular was the interpretation of Andrew of Caesarea (6-7 century). He divided the text into 72 chapters, explaining it as follows: we divided the present work into twenty-four words and seventy-two chapters according to the tripartite nature of the being - body, soul and spirit, twenty-four elders, which, as will be confirmed below, designate the fullness of those who pleased God from the beginning to the end of the age. We consider further discussions about this God-inspired book to be completely superfluous. And. However, such a statement did not at all prevent further interpreters from offering their own versions. This "Apocalypse", for example, is three-way - that is, besides the canonical one, he has two more (anonymous) interpreters.
In general, the further you get into this topic, the more interesting it becomes. This is truly an abyss, full of stars. I cannot but say that this book was written on Amsterdam paper. Those. the connections of the Pomeranian Old Believers with Europe is another interesting topic.
The exhibition will last only 1 month - until April 10, 2018 (then the book will be replaced by something else, probably also interesting), so hurry up to see it.
It would be time to end here, but I want to talk about one more room that made the most vivid impression on me. The iconostasis (brought from the Transfiguration Cathedral of the Spaso-Evfimiev Monastery) is lowered down here, to the level of the floor. Due to this, a person, entering the hall, suddenly finds himself among the saints. Due to the close levels (the icons are just the height of a person), an amazing feeling of the realness of the images arises. In the most human sense. And it's an absolutely amazing feeling! It's very difficult to explain, but it's like the sky came down to you. That alone is worth coming here for.
The Museum of Old Russian Culture and Art is located on the territory of the Spaso-Andronikov Monastery (I will talk about the monastery in a separate post), founded in the middle of the 14th century and associated with the Battle of Kulikovo and other events of Russian history and culture.
In the oldest architectural monument of Moscow, the Spassky Cathedral (20s of the 15th century), frescoes by Andrei Rublev, the great icon painter of Ancient Rus', have been preserved in the window openings of the altar. In this monastery he was a monk and here in 1430 he was buried. His grave has not survived. The most important works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The deisis of the work of Theophan the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal court, near the royal treasury, burned down during a great fire in Moscow in 1547.
In the beginning, the museum had only copies and photographs, then they began to bring icons, decommissioned from decay, frescoes taken from the walls. Now there are more than 5 thousand icons in the museum, and among them there are works by Dionysius.
The Andrei Rublev Museum was established on December 10, 1947, and opened to the public on September 21, 1960. The initiator of the creation of the museum was Pyotr Dmitrievich Baranovsky (1892-1984), a famous restorer and architect.
A valuable collection of iconography of the 13th-17th centuries brought world fame to the Andrei Rublev Museum. In 1991, it was included in the list of especially valuable objects of cultural heritage of the peoples of the Russian Federation.
Christ Almighty 1685
Renovation of the Church of the Resurrection of Christ, 17th century.
Volga region from the village of Nikolskoye, Borisoglebsky district, Yaroslavl region
The Mother of God with the Child on the Throne.
Late 17th century
Karp Zolotorev. Moscow, gold-painting workshop of the Ambassadorial order.
Our Lady of Vladimir
About 1676
Armory, Moscow. From the Pokhvalskaya church in the village of Orel, Berezniki district, Perm region.
Our Lady of the Burning Bush
17th century. Volga region.
From the Trinity Makariev Monastery in Kalyazin
Christ Almighty
1703
Filatiev. Armory, Moscow. From the Cathedral of the Archangel in Bronnitsy, Moscow Region.
Royal Doors and gate canopy
Middle of the 17th century. Volga region. From the Church of the Sign in the village of Pyleva, Tver Region.
Saint Alexis the Man of God and Saint Mary of Egypt
Mid 17th century. Moscow. From the Cathedral of the Sretensky Monastery.
Nativity of Our Lady
First half of the 17th century. Volga region.
From the Church of the Nativity of the Virgin in the village of Dryutskovo, Tver Region
Forefather Benjamin and Forefather Neffalin
From the ancestral row of the iconostasis of the Transfiguration Cathedral of the Solovetsky Monastery.
Archangel Michael. Trinity. Archangel Gabriel
First half of the 17th century.
Workshop of the Trinity-Sergius Monastery in the Klimentovskaya Sloboda. From the iconostasis of the Epiphany Church in the village of Semenovskoye, Moscow Region.
royal doors
Second half of the 16th century. Russian north.
From the Church of the Assumption in the village of Varzuga, Murmansk Region.
Archangel Michael, with deeds
16th century Great Ustyug.
From the Church of the Assumption in Lyalsk, Kirov Region.
Martyr Paraskeva Friday
16th century Novgorod.
Holy Blessed Prince Peter of Murom and Holy Blessed Princess Fevronia of Murom
End of the 16th century. Moore.
From the Transfiguration Cathedral of the Spassky Monastery in Murom, Vladimir Region.
Saints John Chrysostom and Basil the Great
Fragment of the royal doors. 16th century Yaroslavl.
Our Lady of Tikhvin
1550s. Moscow.
Saint Nicholas of Myra
1550s. Moscow.
From the Assumption Cathedral in Dmitrov, Moscow Region.
Royal Doors
16th century Novgorod province
Our Lady
Savior in power
End of the 15th century. Rostov school.
From the church in the village of Chernokulova near Yuryev-Polsky
(Gift by Yu.M. Repin)
Position in the coffin
1497. From the Assumption Cathedral of the Kirillo-Belozersky Monastery.
Conception of John the Baptist (Meeting at the Golden Gates)
15th century Novgorod.
Great Martyr Paraskeva Pyatnitsa with Stigmas of Life
16th century Tver.
comes from the church of the village of Porechye, Bezhetsky district, Tver region.
Saint Nicholas the Wonderworker
End of 17th century. Tree.
Rev. Nil Stolobensky
Second half of the 19th century. Tver province.
