1St room:

The most ancient icon in the Russian Museum is Archangel with Golden Hair (12 century). The author’s name – unknown. The golden strikes symbolizing immortality, greatness … Byzantine/Hellenistic tradition. Such monumental art was typical for pre-Mongol period. The icon was probably intended for the Daces tires of the iconostasis.

Our Lady of Tenderness. There are 3 main types of depicting Virgin Mary – 1) Virgin Mary of Tenderness; 2) Virgin Mary Hodigitria (путеводительница); 3) Virgin Mary in prayer (молящаяся, Oranta). This type emerged in Byzantine in 11^th cent as a variation of Hodigitria. Most icons of this type are half-length icons. The one in our collection if Belozersk the 1^st half of the 13^th century. Comes from the Transfiguration cathedral in the town of Belozersk. This type is the most ancient in Russia. The halos/nimbus of the Virgin and Christ Child merge into one, which symbolizes unity of church and Christ. Angels in the round medallions in the corner are depicting worshiping. Kings and prophets of the Old Testament are depicted on the frame. Red – spilled blood or royal origin. On Virgin – мафорий – большой 4х-угольный плат (традиционно тёмно-красного цвета), cap and tunic. Letters – Mother of God. Archangels St. Gabriel and St. and prophets.

Boris and Gleb. Mid 14^th century, Moscow. Boris and Gleb were the first saints canonized by the Russian Orthodox Church. Both were sons of prince Vladimir of Kiev. Murdered by Svyatopolk (he was their brother, and after Vladimir’s death they began they were fighting for dynastic struggle) in 1015. Each has a cross in the hands which means martyrdom (мученичество). Fine example of Moscow school. It’s one of the earliest images of Boris and Gleb. Red color – spilled blood.

2Nd room:

Miracle of the icon of Virgin Mary of the Sign/The Battle of Novgorodians and Suzdalians. Novgorodian school, early 14^th century. The icon depicts a historic event when Suzdalians invaded the Novgorodian principality in 1170. In the top tier shows the high priests of Novgorod carrying the icon across the bridge (Volhov). Second tier shows Suzdalians shooting arrows at the defenders of Novgorod, and one of the arrow hit the icon. After the arrow hit the icon Virgin Mary began to cry which terrified Suzdalians, they started fighting each other. Novgorodians won very easily. The icon itself – существует на самом деле, она сейчас в Новгороде in St. Sophia’s cathedral. Depicted not only real people but also real historic events and this is a good example.

St. Nicolas the Miracle-Maker. Holy Hierarchs (святители) are members of the church whose Holy life and ministry assisted the church as the body of Christ. One of them – St. Nicolas. He usually depicted in Bishop’s attire which usually consisted of a mitre - a special head gear decorated with jewels (symbolizes терновый венец), sakkos (symbolizes багряница) and omophorion which an obligatory detail - без омофора епископ не может совершать никакой службы (it symbolizes the lost sheep which a kind priest is taking home).

Святые: Праотцы, Святители, Преподобные, Юродивые, Благоверные.

Hagiographic – житийная икона

3^rd room – Andrey Rublev

In the Russian museum there are 2 icons by Rublev – the greatest medieval Russian painter. It’s very little known about his life. According to some researches he was born in Moscow principality or in Novgorod, in 1360s and died in 1430s. He died in Andronikov monastery in Moscow. The 1^st mention of him was in 1405 when he painted icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theothany the Greek. Rublev’s name appears last on the list of masters as the junior by rank and age. Theothany is considered to have trained Rublev. Chronicles further tell us that in 1408 together with Daniil Cherny Rublev painted the Assumption Cathedral in Vladimir. It was built in the 12^th century and was a modal for later constructions including the Assumption Cathedral in the Kremlin by Aristotel Fiorovanti. The Cathedral was originally built by Prince Bogolubsky in 1158-1160. It’s still standing. The Russian Museum has 2 icons from the Deesis tier – the images showing apostles Peter and Paul. The artists were aware of the distance from which the icons would be seen, that is why the images are void of details and clearly drawn.

Descending to Hell. One of important subjects depicted by medieval Russian artists was Resurrection. This episode was described in the Apocrypha by Nicodim. This type also emerged in Byzantine in 12^th century and usually is a symmetrical composition with the Savior in the centre standing on broken gates of Hell. Christ is surrounded by mandorla (Greek word for glory), which symbolizes light which Christ brought into the darkness of Hell. And on the sides the artists usually depicted prophets and fore-fathers. On the late icons demons appeared.

Dionysius. Hodigitria. Dionysius was the head of the Moscow school of icon painters at the turn of the 15^th – 16^th centuries. His style of painting is sometimes called the Moscowite mannerism. He painted a series of icons for the Dormition Cathedral in the Kremlin. The figures on his icons are famously elongated. The hands and feet are small and faces serene and peaceful. The Russian museum has several icons by him including Conversion of Thomas, which was commissioned by one of Dionysius’s patron Joseph of Volokolamsk for Pavel Obnorsky monastery. D’s most famous work is in Feropontov Monastery.

Simon Ushakov – the last great Russian icon painter of the late 17^th century. It’s known very little about his early years, but his birthday can be deduced from an inscription of one of the icons – 1626. He died in 1686. At the age of 22 he became a paid artist of the Silver Chamber of the Amory. The bright fresh colors and exquisite curving lines of his proto-baroque icons caught the eye of Patriarch Nicon who introduced Simon to Tsar Alexis Mihailovich. He became a great favorite with the royal family, had lots of pupils and even published a short manual on icon painting. Some of the more conservative Russian priests regarded his icons as works of devil for they were too westernized to their tastes. Archpriest Avacum said that Ushakov had painted his fleshy saints after his own portly appearance. Ushakov also executed secular commissions and produced engravings for book illustrations. In other words he was one of the 1^st secular painters in Russia.

Уходим из отдела Древней Живописи.