The Cross Year of Russia and Greece is completed by a cultural project that starts today at the Tretyakov Gallery - the exhibition "Masterpieces of Byzantine Art". Unique monuments of the X-XV centuries, collected from Greek museums and private collections. Visitors will be able to submit a story great empire, trace the mutual influence of the traditions of Eastern and Western Christian art.
Artifacts of the Disappeared Byzantine Empire. The earliest is a church cross of the 10th century. A contemporary of the Baptism of Rus'. In the center - another metal, not original. The insert appeared when a relic was torn out of here - a particle of the Cross of the Lord.
“You and I see the two hands of the great martyr, which are raised to Christ. And his figure is clearly visible here, voluminous. It almost seems to emerge from the surface of the icon, from the plane of the icon to us, to those who pray,” says Elena Saenkova, curator of the exhibition.
The curator of the exhibition at the "volumetric" icon - such appeared in the XIII century, after the arrival of the Crusaders. Two collided Christian world: western and eastern. The carving technique, robes, even the shield at the feet of St. George are European, and the painting technique is Byzantine.
And this is far from all the surprises from the Byzantine masters. Double-sided icons are a rarity. For example, this one, from the end of the 14th century, depicts the crucifixion of Christ on one side, and the Mother of God on the other. Such icons are also called processional, that is, they participated in church services, celebrations, religious processions. But the most interesting thing is different - art historians suggest that they were located inside the temple in a special way. One side was turned to the worshipers, that is, here. And the other side - inside the altar, to the clergy.
Withered edges, lost colors in some places, and somewhere deliberately knocked down faces of saints shock more than the restored images. These icons breathe time, live in every crack, in spite of all the conquerors of Byzantium.
“When the Turks took Constantinople, they began to destroy the decoration of temples, disfigure icons: they gouged out the eyes, the faces of saints,” says Fedra Kalafati, an employee of the Byzantine and Christian Museum.
18 unique exhibits came from museums and private collections in Greece. This visit is a return one: in the fall of 2016, an exhibition of Russian icons was held in Athens. The cross year of Russia-Greece has already ended, but in fact it is closing now.
Manuscript of the Gospel of the XIV century - in a precious frame, with rich miniatures, perfectly preserved text and marginal notes. Basis - veal skin of the thinnest dressing.
Nearby is even less familiar to the ear "air" - an embroidered cover on the Holy Gifts. It was used during the Liturgy. Judging by the pattern, wine was covered. Even the threads retain their brightness from the Byzantine masters, because the dyes were created from natural pigments. Cinnabar - red, lapis lazuli - blue, ocher - flesh-orange. The palette is small, but how skillfully the artists mastered it.
“To look at these icons is a great pleasure for the eye, because this is the finest painting, the finest work with paint, with color, with gold,” says Zelfira Tregulova, director of the State Tretyakov Gallery.
And also the details. It would seem that the canonical image of the Mother of God with the baby, but how humanly playfully a sandal slides off one of Christ's feet.
Yesterday, the exhibition "Masterpieces of Byzantium" opened at the Tretyakov Gallery, held as part of the year of cross-cultural communications between Russia and Greece. The presented icons, illustrated manuscripts and small plastic items from museums and private collections in Greece belong to different eras(from the 10th to the 16th centuries), stylistic trends and territorial schools and give an idea of the diversity and richness artistic heritage great Eastern Christian empire.
The uniqueness and value of the exhibition is difficult to exaggerate. Firstly, byzantine art presented in domestic museums rather poorly, and attention to this richest and interesting culture in our country undeservedly few. (Here comes the prejudice Soviet era against the spiritually and churchly oriented heritage, and the difficulty for the perception of this sophisticated, refined and sublime art by the average, poorly prepared modern viewer).
Secondly, each of the objects presented is an absolute masterpiece, each is an eloquent witness to the depth of the philosophical understanding of being, the height of theological thought and the intensity of the spiritual life of contemporary society.
The earliest piece shown at the exhibition is a fine silver processional cross from the end of the 10th century engraved with images of Christ, the Mother of God and saints. The severity of lines and perfection of proportions characteristic of the era are complemented by the elegance of finely drawn engraved medallions depicting Christ Pantocrator, the Mother of God and saints.
TO XII century refers to the red-font icon "The Resurrection of Lazarus", a masterpiece of the so-called "Comneno Renaissance". Harmony of proportions, refinement and plasticity of gestures, full-bodied, three-dimensional figures, expressive sharp glances - character traits era. This is the time of a return to the ancient fundamental principle, from which, however, Byzantine art, unlike Western European art, never fundamentally parted. Therefore, in relation to Byzantium, such periods of special interest in the aesthetics of antiquity can only be called "renaissances" conditionally.
In this context, the icon of the Holy Great Martyr George is very interesting, which is a rare example of the interpenetration of Western and Eastern traditions. The relief image of the saint in the centerpiece refers to the so-called “crusading art” of the 13th century, when Constantinople was under the rule of Western knights for almost a century, and craftsmen from Europe arrived in the eastern capital. The genre of painted relief itself, characteristic of Gothic figurativeness, is a rounded, slightly profiled volume, a somewhat provincial expressiveness of the figure with big hands and head, local, bright colors are obvious features of "barbarian" art. However, the shining golden background and the more refined painting of the hallmarks betray the hand of the Greek master. In hagiographic images in the margins, jewelry fractional forms, elegant plasticity of figures, more nuanced coloring, sustained in the colors of the centerpiece, and thin elongated facial features are striking.
The turnover of the icon depicting the holy martyrs Marina and Irina again brings us back to the “crusader” expressiveness with underlined big features faces, "talking" hands and expressive glances. However, the radiance of the golden "lights" in the attire of Christ betrays the author's unconditional admiration for the capital's Constantinople samples.
Among all the masterpieces of the exhibition, the magnificent double-sided icon of Our Lady Hodegetria and the Crucifixion from the Byzantine and Christian Museum in Athens, dating from the 14th century, is especially impressive. The monumental half-length image of the Mother of God with the Child in her arms is made in the best traditions of the capital's Constantinopolitan school of the era of the Paleologs. This is the statuary figure of Mary, which stands out against a golden background with an elegant silhouette, and the grace of gestures, and Her exquisitely beautiful features: almond-shaped eyes, a thin nose, a small rounded pink mouth, a swollen, girlish oval face. It would be almost earthly, sensual beauty, if not for the radiance of another world, penetrating this perfect face with rays of gaps, illuminating it with spiritual light.
Since the middle of the 14th century, painting has reflected the new theological teaching and spiritual experience of the hesychast monks, followers of St. Gregory Palamas, about the uncreated divine energies. It is this light, the harmony of silence that sharply transforms expressive composition the crucifixion of Christ on the back of the icon into an overworldly and overemotional image, full of silent sorrow and prayerful burning. Against a luminous golden background, the figure of the grieving Mother of God in shining blue robes resembles a candle with a flame directed upwards. It is important to note that with all the elongation and sophistication of proportions, the antique basis of all art system Byzantines breathes in every detail: for example, the posture of the Apostle John, bowed in tears, echoes the bending of the body of Christ, which gives static composition movement and vibration.
By the turn of the 14th and 15th centuries, there is a large icon of the holy martyr Marina, painted, of course, in the same late Paleolog tradition as the “Odegetria of the Mother of God with the Twelfth Feasts” of the second half of the 14th century. The thinnest golden gaps permeate these images, the light vibrates and enlivens, spiritualizes the images.
The exhibition also features several Byzantine icons written after the fall of Constantinople in 1453. big art center Crete became at that time, but gradually the Greek icon painting lost the monumental expressiveness and spiritual intensity of the images that distinguish the creations of their predecessors.
In the image of the Mother of God Kardiotissa of the first half of the 15th century, there is already a tendency to ornament the grid of gaps, to the complexity of poses, which are unnaturally unfolded, broken, and frozen at the same time.
The icon of St. Nicholas, made around 1500, is notable for the obvious influence Italian art Renaissance in the field of color and interpretation of folds. The iconography of the saint on the throne, which has become widespread in post-Byzantine art, is interesting.
Both the manuscripts and the objects of decorative and applied art brought to the exhibition are unique. Together with magnificent icons, they immerse viewers in the sublime and refined world of Byzantine imagery. They seem to reconstruct before our eyes the reflections of that splendor that was born from antique representation about beauty, oriental expression and Christian spiritual fullness.
The main thing in this art, as in this exhibition, is the state of transcendental soaring and exultation of spirit, penetrating every image, every evidence of that amazing country where theology was not the lot of a select minority, but the basis of the life of the empire, where the royal court sometimes lived according to the monastic charter, where the refined art of the capital could appear both in remote regions of northern Italy and in the cave temples of Cappadocia. We had the good fortune to touch the unknown facets of this cultural continent, from which at one time the vast tree of Russian art grew.
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about the author
Art historian, specialist in Byzantine painting, curator exhibition projects, founder of his own gallery contemporary art. Most of all I like to talk and listen about art. I am married and have two cats. http://arsslonga.blogspot.ru/
Guests of the Tretyakov Gallery in Lavrushinsky Lane can appreciate the works of Byzantine masters, including those of a thousand years ago. On new exhibition presented exhibits of the late X - early XVI century.
Icons and manuscripts with miniatures were exhibited in the 38th hall of the gallery. Each work is unique monument of his era. They help understand history. Byzantine culture and trace the mutual influence of the traditions of Eastern and Western Christian art.
The exhibition "Masterpieces of Byzantium" was opened next to the halls of the permanent exhibition ancient Russian art XI-XVII centuries. This allows you to trace the parallels and see the features of the works of Russian and Greek artists.
Byzantine traditions stood at the origins of the art of many peoples. When Christianity began to spread in Rus', Greek artists and architects passed on the skills of building temples to the craftsmen, fresco painting, icon painting, book design and jewelry art. From the 10th to the 15th century Russian art went from apprenticeship to mastery. But it retained the memory of Byzantium as a source, long years nourishing Russian culture.
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The oldest exhibit at the Tretyakov Gallery is a silver processional cross of the late 10th century engraved with images of Christ, the Mother of God and saints.
The art of the 12th century is represented by the icon "The Resurrection of Lazarus", embodying the refined style of painting of that time. In the Tretyakov Gallery there is an icon of Our Lady of Vladimir of the same era, created in Constantinople in the first third of the 12th century and then brought to Rus'.
One of the most striking exhibits is a relief with the image of the Great Martyr George with scenes from his life. This is an example of the interaction between Byzantine and Western European masters, which laid the foundation for the phenomenon of the master crusaders of the 13th century. The figure of St. George is made in the technique of woodcarving, which is not typical for Byzantine art - this is a borrowing from Western tradition. At the same time, the framing of stamps was created according to the canons of Byzantine painting.
Another way mutual influence medieval art East and West are demonstrated by the icon of the Mother of God with the Child, dating from the 13th century. During the period of the revival of the empire and the dynasty of the Palaiologos, the movement towards ancient traditions was perceived as a search for one's cultural identity.
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Testimony last bloom Byzantine culture in the XIV century became a two-sided image of the Mother of God Hodegetria, with the twelfth holidays. Throne prepared. This icon is a contemporary of the works of Theophanes the Greek. Both masters used the same techniques, in particular, thin lines penetrating the faces of the Mother of God and the Child, which symbolize the energy of Divine light.
A few more exhibits give an idea of the richness of the decorative and applied arts of Byzantium. Among them are a katseya (censer) with the image of the great martyrs Theodore and Demetrius and an embroidered air (veil) on the Holy Gifts.
Manuscripts of the gospel codices (XIII century and around 1300) will acquaint you with the phenomenon of the medieval book. She was not only a carrier of information, but also a complex organism, where, in addition to the text, there were virtuoso miniatures and elements of decorative decoration.
The post-Byzantine period is represented by three icons of Greek masters who left for Crete after the fall of Constantinople in 1453. Here you can trace the synthesis of creative finds European art and the traditional Byzantine canon.
The exhibition "Masterpieces of Byzantium" has become the third event of the Cross Year of Russia and Greece, which was organized with the participation of the Tretyakov Gallery. The first exhibition opened in the presence of the heads of both states in May 2016 at the Museum of Byzantine and Christian Art in Athens. In September, a display of unique icons and wooden sculpture XV-XIX centuries from the Tretyakov Gallery.
The State Tretyakov Gallery opens a Byzantine exposition as part of the cross Year of Cultures of Russia and Greece. Its exhibits - icons, books and objects of arts and crafts - reflect the evolution of Byzantine art in the Middle Ages.
Virgin with Child. 12th century
Exhibition "Masterpieces of Byzantium" in the Tretyakov Gallery
Each of the 18 works presented at the exhibition "Masterpieces of Byzantium" is a real monument of its era. The exhibits that survived after the fall of Constantinople in 1453 and the collapse of the Byzantine Empire were transferred to the Tretyakov Gallery by the Athenian Byzantine and Christian Museum and private collections in Greece.
One of the most unusual icons of the exposition is scenes from the life of the Great Martyr George. It is made in the technique of high relief, which was unusual for Orthodox icon painters. The icon was created at the time crusades, when artists from Western Europe had a great influence on the Byzantine masters.
A striking example of the flourishing of Byzantine art of the 14th century is the double-sided icon of the Mother of God Hodegetria, on the back of which there is another icon - the Crucifixion. The graceful thin lettering, rich colors - the harmony of gold and azure - have been preserved, which was typical for the icons of the Palaiologos era. The tempera icon “John the Baptist, the Angel of the Desert” of the 16th century, which depicts a common icon-painting plot, looks just as exquisite. John the Baptist is written winged, which symbolizes his purity. On the icon, John is depicted as a herald of the coming and martyrdom of Christ.
Our Lady of Kardiotis. 1st floor 15th century
Great Martyr George with scenes from his life. XIII century
Great Martyr Marina. Late 14th - early 15th century
In the center of the exposition is a large-scale icon of the Mother of God Kardiotissa (translated from Greek - “heart”). The image of the infant Christ and the Mother of God is imbued with tenderness, devoid of the usual severity. The author of this extraordinary icon is Angelos Akotantos, a famous Greek painter of the 15th century.
The most ancient exhibit of the exhibition arrived in Moscow from the Benaki Museum in Athens, founded in 1930 by millionaire Emmanuel Benakis. This is a silver processional cross, created at the end of the 10th century, on which the figures of Christ and saints are finely engraved. It is curious that the rarely mentioned holy martyr Sisinius is depicted on the cross. The inscription on the handle says that he was the patron saint of the customer of this cross.
The exhibition "Masterpieces of Byzantium" runs in the main building of the State Tretyakov Gallery until April 9. The exposition is located in hall No. 38, next to the halls of ancient Russian art. This proximity allows the guests of the exhibition to trace the parallels in Russian and Byzantine art of those years.
A new exhibition at the Tretyakov Gallery - "Masterpieces of Byzantium". These are eighteen exhibits from Greek museums. Their age is from the end of the 10th century to the beginning of the 16th century, when the Eastern Roman Empire no longer existed, and the name Byzantium did not yet exist. The rarest examples of icon painting are located next to the halls of ancient Russian art. So you can immediately compare the work of the founders of the style and their students, including the greatest of them - Andrei Rublev.
Voltaire believed that Byzantine culture as a whole is a collection of grandiloquent phrases and descriptions of miracles that dishonor the human mind. It was during the era of enlightenment, as is commonly believed, that all the myths about Byzantium, about its despotism, superstition, greed, and moral decay were born. As you know, it is not worth fighting myths. We must study. The exhibition of Byzantine masterpieces is the most useful subject of study, the head of state showed interest in it.
The exhibition "Masterpieces of Byzantium" is designed with the asceticism of a monastic cell. But, as you know, everything really worthwhile is not very impressive. Usually, before shooting, correspondents always check with the curator of the exhibition in order to give the operator a task: what must be filmed and what can be skipped. But this time, Novosti Kultury was advised to film all the exhibits. There are no secondary works here.
"First half of the 14th century. "Crucifixion" is a two-sided icon. This is truly a masterpiece. Constantinople masters, metropolitan work. You look like minimalism artistic means maximum expressiveness! Here gold, we see different shades of blue and different shades of ocher. Nothing else. Look at the color richness,” says Elena Saenkova, curator of the exhibition.
At this exhibition, you can see both brilliant examples of icon painting created in the workshops of Constantinople for the capital's cathedrals, as well as images painted in the quiet of monastic cells for small provincial churches. There are those, looking at which you can’t say that this is an icon.
“Holy Great Martyr George. This is actually a sculpture made of wood, painted surrounded by the hallmarks of a great martyr. The tradition of painted relief is not typical of Byzantium. This is the first meeting of Byzantium and the West,” Elena Saenkova explains.
Those who think that an exhibition about the art of Byzantium has opened in the Tretyakov Gallery are mistaken. This exhibition is not about art and not even about Byzantium itself. It is about something immeasurably greater, which neither the crusaders, who ruined the empire in early XIII century, nor the Ottomans, who captured Byzantium in the middle of the XV. Byzantium was truly understood only in Russia.
“The peculiarity of this exhibition is not only that for the first time in the halls of the gallery Byzantine art. For the first time, we have the opportunity to really feel the origins of everything that we call Russia, Rus', Holy Rus',” says Natalya Sheredega, head of the Department of Ancient Russian Art at the Tretyakov Gallery.
Vladimir Putin, who visited Mount Athos last summer for the celebrations dedicated to the millennium of the Russian presence on the Holy Mountain, was shown a small icon from the exhibition among the first exhibits. Director of the Tretyakov Gallery Zelfira Tregulova says: stylistic features icons were later adopted by Russian icon painters.
Even more ancient monument Byzantium - processional silver cross of the end of the 10th century. It was then that Rus' adopted Christianity. It is possible that Saint Prince Vladimir baptized his people with the same cross.
At the exhibition you can see five centuries of brilliant Byzantine culture. There are exhibits that formally demonstrate its sunset. For example, the icon of St. Nicholas was painted 50 years after the fall of Byzantium. But in reality, Byzantium is alive and not only in the monuments of icon painters who left for Crete after the collapse of the empire. First of all, it is alive in the culture of Rus' - the successor of Byzantium.
