Ryazan Icon-painting

The history of the Ryazan lands, mysterious in many respects, compels attention of the scholars, while the culture and art of the region remains unexplored.

The Ryazan lands lie on the banks of the Oka River. The first annalistic record of the city dates from 1096, Yaroslav Svyatopolkovitch, the ancestor of the Ryazan princes, was a grandson of Yaroslav the Wise. As judged by the chronicles and archaeological finds, the ancient Ryazan Principality situated on the trade water-ways that bound up western regions with the Azov and Black Sea ports through the Don River as well as with the Caspian Sea ports and eastern countries through the Oka and Volga rivers, was very powerful. The Principality stood in close relation to Byzantium.

After the tragic events in 1237, when the ancient Ryazan had been annihilated by the Tatar horde under the command of Khan Baty, the capital of the Principality was Iransfered to Pereyaslavl of Ryazan (modern Ryazan). Few icons survived by some miracle were taken to the city.

The new raising of the Ryazan lands was connected with the activity of the Grand Prince Oleg (died in 1402). This clever and far-sighted politician, who was regarded as the enemy of Rus according lo the chronicles of Moscow — while the chronicles of Ryazan have not survived — did a great deal for economic revival of the ruined lands. But this notable ruler had no worthy successors, and after his death Ryazan fell into the hands of Moscow. In 1520 the Ryazan lands formed a part of the Russian Power.

The cultural life of the city became more brisk in the 17th century, after the Time of Troubles in 1612. That was a period of large-scale church building, the talariled architects, such as Yuri Yartsev, Osip Startsev, Yakov Bukhvoslov, worked in Ryazan. A number of high-born families, such as Volkonskys, Mestcherskys, Buturlins, Shuvalovs, Naryshkins, owned the patrimonies in this province affecting the artistic tastes. These new metropolitan trends of the 18th — 19th centuries mixed up with stable folk traditions bore excellent pieces of icon-painting.

Owing to the force of circumstances one cannot find early pieces of icon-painting within the territory of the former Ryazan Principality. That is why we attach great importance to not many icons 'discovered' by the conservators during the last decade. The icon «0ur Lady Hodegetria» (with the images of Sts Constantine and Helena on the back side painted in the I7th century) is the most ancient monument which we can date from the 15th century. The icons of Our Lady Hodegeiria were the objects of the particular veneration in the Ryazan lands. According to the legend, the Metropolitan Euphrasin brought the icon of Our Lady Hodegetria from the Mount Alhos in the early 13th century (before 1225). At first the icon was kept at the Cathedral of the Assumption in Ancient Ryazan city then, after the tragic, events in 1237, it was taken to the new capital of the Principally. Among the pre-mongol icons kept at the museums of our country one can discover no analogue of this Ryazan icon; likely, such an icon should be sought among the pieces of the Balkan school of icon-painting.

The icon «St Nicholas, Bishop of Myra, Zaraisk type» with the border-scenes of his life is of great interest to the scholars. The icon painted in the 14th century is one of the earliesl replicas of the Corsun original. The icons of St Nicholas, widely practised all over Russia later on, were the objects of profound admiralion in Ryazan. This thesis can be confirmed looking al the other two hagiographic icons of St Nicholas, Bishop of Myra — «St Nicholas, Zaraisk type» (15th century) from the Church of St Nicholas in Yamskaya Sloboda (Ryazan city) and «St Nicholas, Zaraisk type» (16th century) from the Church dedicated to the Presentation of the Virgin in the Temple at the village Boriskovo near by Ryazan.

The icon «The Archangel Michael with loros and the Miracle of Honae» occupies a special position among the creations of Russian icon-painting. This one was painted for the Cathedral of the Archangel Michael at the Kremlin of Ryazan, the burial-vault of the Ryazan Grand Princes, in the late 15th century — the tragic period in the history of Ryazan on the brink of its occupation by Moscow (1520). When painting this icon the master, surely, thought of begone glory of the Ryazan rulers.

The icon «St John the Theologian» painted in the early 16th century bears close relation to the history of Ryazan. The legend tells that in 1237 Khan Baty approached the Monastery of St John the Theologian near by Ryazan, where the famous icon was kept. Being frightened at its aureole he spared the monastery and even attached a seal to the icon to pay his respects to it. This icon was kept at the Ryazan Local Lore Museum till 1941. Nowadays the place of its location is not known.

In 1520 the Ryazan Principality attached to Moscow turned into one of the numerous Russian provincies. In the I6th century, nevertheless, Ryazan kept age-old cultural traditions. The icons «The Nativity of Our Lady», «Sts Cosmas and Damian», «The Assumption of Our Lady» were painted within these years. It was the 161h century, when more and more icons of Moscow work showed up in Ryazan, such as «St John the Baptists belonging to the collection of the Ryazan Historical and Architectural Museum-Reserve and «The Metropolitan Alexey» painted by David Sirakh for the monastery at Solotcha.

The 17th century brought the best artistic achievements, but, unfortunately, this period remains unexplored. The icon «St Sophia, the Divine Wisdom» painted specially for the Cathedral of the Archangel Michael at the Kremlin of Ryazan shows influence of Moscow, while the native Ryazan tradition is so characteristic of the Deesis icons «St Basil the Greats and «St George» painted for the templon in the Church of the Ascension at Spassk of Ryazan. The brushwork inherent in the icon «Our Lady of Vladimir» has a strong resemblance to the above-mentioned pieces.

The icons "Our Lady of the Sign, "Sts Flor and Lavr", "St George and the dragon", "The bush that cannot be scorched" are the masterpieces of the 18th century.

The rearest icon "St Basil of Ryazan" dates from the 19th century. Basil, the Metropolitan of Ryazan, devoted much energy to strengthening of Christianity within the regions of Ryazan and Murom.

We direct your attention to a smaller part of the icons belonging to the collections of Ryazan city. At least, the pieces we came to know allow us to arrive at a conclusion that before 1520 Ryazan possessed its own, distinctive school of icon-painting, but only a tiny part of its creations survived. Starting wifh the 16th century, when the new artictic trends were introduced, icons painted both by Moscow and Ryazan masters existed in the region.

As concerns Ryazan wood sculpture, the icon "The Archangel Michael" from the village Putyatino carved in the early 16th century is the most ancient and well-known work. This one occupies a special position: one can find no icon bearing the same subject. Besides, it is the only creation of the Ryazan carvers that came from the 16th century. Michael-Archistrategus was a very popular and chosen personage in the Ryazan Principality: the Cathedral of the Grand Princes is dedicated to the Archangel; the icon "The Archangel Michael with loros and the Miracle of Honae" is considered as one of the most magnificent Ryazan icons.

The carved images of St Nicholas, Bishop of Myra (Mozhaisk type) were widely practised all over Russia. The sculptures "St Nicholas, Mozhaisk type" from the Agrathena Cloister and Church of St Nicholas at the village Pushkary belong to the 17th century; the carved image "St Nicholas, Radoonezh type" inside the icon-case dates from the late 17th — early 18th century. St Parasceve-the Friday was the second pet personage among Russian carvers. The first sculpture reproduced in our publication was carved in the 17th, the second one — in the 18th century.

The rearest carved " Antiminsion" belongs to the collection of the Kasimov Local Lore Museum. The carved icon "The Entry into Jerusalem", one more unique masterpiece, came from the Church of St Lazarus in Ryazan.

The adornment of the baroque templa worked in the 18th century often included anthropomorphous carved images, such as "Our Lady" and "St John the Theologian" that crowned the templon of the Church dedicated to Our Lady of Bogolubovo at the village Zimarovo. The small sculptural image "Angel", supposedely carved by the same master, came from the above-mentioned church.

In comparison with monumental solemnity of the figures from Zimarovo the image of Our Lady from the Ryazan Historical and Architectural Museum-Reserve wins the hearts being touchingly naive like the pieces of folk art.

The icon "Sts Boris and Gleb" carved in the 18th century came from the Metropolitan Sacriesty. To the author's knowledge, it is the sole carved image of the Saints despite widespread popularity of their cult.

The images of the Four Evangelists created in the late 18th century belong to the Church of St Nicholas at the village Pushkary. The individual features of each Evangelist are not expressed. The personages differ in the positions of hands and the Gospels, opened or closed. Gold prevails in the sculptures' painting.

Great flowering of the images called "Christ in prison" took place in Russia of the 18th and, especially, 19th centuries. There are several iconographic types of Christ in sitting posture varying in His hands' position, presence of the "bonds", as well as the constructions of the pedestals. The carved images of "Christ in prison" kept at the Ryazan museums are somewhat of the same nature showing Christ with His torso, arms and legs carved in a relative manner side by side with His head, locks and folds of garments modelled with great care; the crowns of thorns are made of two or three vines woven into large links.

We represent not many, but virtually the whole of the church embroideries survived in Ryazan. Generally speaking, the objects of fine needlework were created in a scant amount: in contrast of the icons (it happened, the icons' decoration of a church was painted within a season), the embroideries existed as the unique, personal donations to the temples or private churches celebrated of the high-born families possessed their own workshops. Being of the great value, the church embroideried furnishings, such as podeai and tomb covers, were used lo decorate the temples exclusively within the Feasts while the liturgical vestments, such as acres, purificators, epitaphioi, priestly and hierarchical garments, were the part of the Festal services.

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The aer "Eucharist", with the hagiographic border-scenes dedicated to Sts Joahim, Anna and the Virgin, is the most ancient embroidered object produced in Ryazan (1485). The aer bears the dedicatory inscription telling that this one was performed as the order of the Grand Duchess Anna, who took part in its creation and donated it to the Cathedral of the Assumption of Our Lady in Ryazan on behalf of her own and son Ivan Vassylievitch, the Grand Prince of Ryazan. Likely, the aer was conseived as the "praying" on increase in the family, the circumstance that explains the choise of the subjects for the border-scenes narrating on the miraculous birth of the child, i. c. the story uncommon as concerns the aeres.

Aer (synonym to Epitaphios Sindon in the present case) plays a special role in the Good Friday, Holy Saturday and Easter services symbolysing "the firmament with stars", "the sepulchral linen in which Christ was wrapped", and Christ Himself. According to these promises epitaphioi usually bear the compositions "Lamentation for Christ" (or "Lamentation at the Tomb", or "Entombment"). At least, we know only two Russian aeresbearing the composition "Eucharist": these were produced in Suzdal (1413) and Ryazan (1485). Both the aeres go back to the common unknown prototype. The Ryazan aer was produced when Moscow potently influenced the Ryazan Principality. The distinguishing features characteristics of the Ryazan early works of art are not inherent in this creation. The same is true as concerns not many survived objects of the late 15th —early 16th centuries reproduced in our publication. Nevertheless, note should be taken that the object shows high professional skill of the designer, who confined himself of pre-Dionysios tendency and reflected the influence of the art in Byzantium and the Balkan countries.

The aer, or epkaphios of 1512, is of great interest. The dedicatory inscription tells: the archimandrite Dosithey donated this one to the Monastery at Solotcha. The composilion "Lamentation at the Tomb" (its name by the aer) was completed in the 15th — early 16th century. In contrast to the ancient liturgical patterns depicting the angels' service at the Tomb of Christ (sometimes supplemented with the images of Our Lady and John the Baptist) this iconographic version illustrates the texts of the New Testament and goes back to the compositions characteristic of icon painting. The embroidered composition is altered, nevertheless, due to the aer's surface stretched in the horizontal direction. Imposing appearance and balance of the compositions unite the border-scenes of the Feasts and Passions being the distinguishing feature of the early 15th century. One can give off several groups of the border-scenes due to the principles of their design. The first group of the compositions, such as "The Purification of Our Lady", "The Baptism", "The Entry into Jerusalem", follows the traditions of the Byzantine art in the limes of Palaeologi; the other one reflects the trends of Moscow art in the 15th—early 16th centuries originating from the icons painted in the style of Andrey Rublev ("The last supper", "Washing of feet", "The Lord's angel appears to the myrrhophores") to those painted in the style of Dionysios ("Doubting Thomas"); the third group ("The Passions" in the main) rests upon the Novgorod monuments of the late 15th — early 16th centuries, such as "tablets" and the icons belonging to the Festal tier of the templon at the Cathedral of St Sophia, the paintings that, too, reflect the trends of Moscow art. Analysing the principles of the compositions' construction as well as the figures' proportions, one can assume: the designs of the central picture and border-scenes were fulfilled by different masters. As concerns the embroidered surface, it is true to the fact that at least two mastress, varying in the manner of needlework and skill, worked at the object.

The dedicatory inscription on the afir of Dosithey enumerates the whole of his donations including the embroidered endyli (altar cloth covering the whole table). We possess the fore-part of this object bearing in the central area the image of Our Lady of the Sign in the round setting, composition "The Trinity of the Old Testament" overhead and symbols belonging to the Four Evangelists in the corners. Not only the style and technique of embroidery as well as identical decorative elements, such as the round rossets on the borders, but — first of all — the fact that our aer and endyti came from the Monastery at Solotcha show that both the objects were produced at the same workshop. Very rich embellishment of the endyti is its distinguishing feature. As concerns the principles of iconography similar to those inherent in the aer of Dosiihey, the design of the compositions "Our Lady of the Sign" and "The Holy Trinity" stands in close relation to Moscow patterns.

In the late 15th century the Cathedral of Assumption of Our Lady at the Kremlin of Moscow became famous as the chief temple of the Russian Power. These years the head icon of the Cathedral, "The Assumption of Our Lady", started serving a standard for creators of the icons dedicated to this High Feast and destined for the provincial churches of the same name. The shroud "The Assumption of Our Lady" is one of the best works of Russian narrative embroidery created side by side with such icons united by the common iconographic version called "The cloudy Assumption" (the Lord's angels are carrying the Apostles on the clouds to bid farewell to Our Lady). The distinguishing feature of iconographic version, to which the designer resorted when produced the Ryazan shroud, is Christ's blessing gesture turned towards of Our Lady to convey the especial symbolic meaning of the composition: Christ blesses the Earthy Church, its Apostles and Prelates by blessing Our Lady. As concerns the artistic devices, our shroud bears a similarity with the icon "The Assumption of Our Lady" (the late 15th century) from Dmitrov attributed to Dionysios or his disciples. As for the attribution of the shroud, it is complicated due to the exceptionally high artistic merits, icon-paintingness and careful execution inherent in the object. It is possible, the shroud was produced in view of the Ryazan Metropolitan Jonah's consecration (1522 or 1523) and, thereby,

Understanding Russian Icons

In old Russia nearly every phase of life was colored by religion. Every day in the calendar was dedicated to the observation of some saint. Every individual and every trade had their patron saints. A distinctly Russian form of representing saints and religious themes is the icon. Painted on wood, icons are known to the Russians as "obraz", but we know them better by the term icon, which comes from the Greek word for picture or likeness, "eikonoi". The painting of icons is the most distinctive art form of old Russia, and Russian icons are the most varied and beautiful of all.

Until recently, there was not much interest in icons. Even in Russia, where they were common, icons were taken for granted. But today old Russian icons are recognized as works of art by art historians and collectors alike.

Collectors of icons should remember that the best and most valuable icons are to be found in Soviet and European museums. A great many, of course, have found their way to America and private collectors. From time to time, early and rare icons are offered for sale by prestigious auction galleries and normally bring very high prices. Also, icons a century or two old are still found occasionally in some better known antique shops. But the majority of icons offered today are often of inferior quality. The collector must be careful because a number of known fakes turn up in the market now and then. When purchasing an icon it is best to enlist help from a reputable expert.

In buying an icon there are a few basic points one must always keep in mind. The value of an icon depends only partially on age. Of undeniable importance, however, is the material of which an icon is made, the quality of workmanship, and its overall condition. One must take into consideration the design, color range and aesthetic effect of the icon. The most valuable icons are without exception those painted on wood panels following traditional, aesthetic and proscribed requirements. Mechanically produced icons are generally of inferior quality, regardless of their sometimes valuable metallic coverings. Icon collecting is both challenging and rewarding, but the search for a bargain in this field demands caution and at least a basic knowledge of icon art and its value.

Icon painting in Russia, as elsewhere, has followed traditional canons. As a consequence, icons can be so like one another that at times it is scarcely possible to distinguish between them. This is why icons representing the same subject, although they were painted centuries apart, can be so similar. One must keep in mind that the forms of the Russian icon remain unchanged through the centuries.

Icons are naturally divided according to subject into two main groups; painted icons which simply depict holy personages and icons which depict scenes from the Scriptures or events from the lives of the saints. Icons from the latter category serve a didactic purpose. They have served, so to say, as an attractive and effective teaching tool. On the other hand, icons which represent individual saints have been the object of veneration.

In Russian iconography, literally hundreds of themes have been represented. Images of Christ are numerous, with the type known as 'The Saviour Not Made by Hands' being perhaps the most popular of the Christ representations in old Russia. There are also other representations of Christ including depictions of the events of his life.

The enormous and varied iconography of the Virgin is even more impressive. There are no less than three hundred types, all different. In the Milwaukee Public Museum collection, some better known icons of the Virgin are: 'The Virgin of Vladimir', sometimes referred to as 'the most ancient hymn to motherhood'. 'The Virgin of Tykvin'. The Virgin of Kazan' and 'The Virgin of Shuja'. This profusion of types if also evident in the depiction of the most popular saint of old Russia, St. Nicholas of Myra.

The Festivals of the Church was another theme popular with icon painters. Icons of this type were used in sets consisting of twelve or sixteen scenes from the Scriptures. Furthermore, old native Russian saints and numerous icons have preserved their images, including events from their lives.

The old Russian icons in the museum's collection are not uniform in quality, all the more so because they were created at various times and in different icon painting centers. The collection includes a number of masterfully executed miniature icons and a few fairly good examples of icons made of materials other than tempera on wood and by varied techniques. Most of the icons in the collection belong to the nineteenth century, although one dates from the 18th century, and several were made in this century.

The Virgin of Shuja in the museum's collection is an excellent example of a tempera on wood. This icon was painted on a wood panel. In order to prevent warping, diagonal strips of wood were applied on the back. The edges of the panel rise above the picture space from the frame. The colors were mixed with egg yolk and diluted with kvas, a popular Russian drink made from sour bread. The completed painting was given a coat of a special varnish. This varnish at first enhanced the colors, but turned dark and opaque later, producing the contrary effect. The metal frame and halo, in the form of a crown, were

transference of the pulpit from the Cathedral of Sts Boris and Gleb to the Cathedral of the Assumption of Our Lady. At least, it is incontrovertible at all points, the object was created within artistic trends flourished in Moscow of the early 16th century.

The sole piece of fine needlework belonging to the period from the early 16th to the middle of the 17th centuries survived in Ryazan. That is the epigonation "Our Lady of the Sign" produced in the middle of the 16th century, or, more precisely, its central picture and four cherubs applied onto the new background in the 18th century. The image "Our Lady of Ihe Sign" was designed using the iconographic version identical with that of the above-mentioned endyti.

The epigonation "The Transfiguration of Our Lord" belongs to 1630— 1640s. Rich embellishment of the object is founded on the contrasung colour-scheme -dark-blue background, red silk of the borders side by side with gold and silver of the garments, hillocks, nimbi,— rather than on use of silk threads. Being quite diminutive, the faces of the personages are embroidered a way to express the areas of shades looking like "spectaclies" — a mode characteristic of the time.

A bulky amount of objects — the epkaphios and phelonion with the embroidered shoulder-piece as well as three sets of liturgical covers — came from the last quarter of the 17th century. The epitaphios (1680), that was kept at the Cathedral of the Assumption of Our Lady, and two sets of covers were produced at the famous Stroganovs' workshops. The epilaphios was embroidered by Agapova, the wife of Alexey Agapov, who was a bailiff of Grigory Dimilrievitch Stroganov. The mastress performed the order of the Ryazan Metropolitan Joseph for the Cathedral of the Assumption of Our Lady. By that time the Stroganovs' Workshops were about hundred years old, and we dispose of more than hundred creations of fine needlework, but our epitaphios is the sole crealion performed as an order of a person not belonging to the clan of Stroganovs.

The epitaphios bears some essential structural and iconographic distinctions (likely, influenced by the Metropolitan Joseph) from the other known Stroganovs' epitaphioi and goes back to the famous aer of Uosithey. Some archaic elements characteristic of our epilaphios (sizeable lenglh of the central picture, elongated body of Christ with His head thrown back, etc.) account for appeal to ihe ancient prototype. Meanwhile, the border-scenes of the epitaphios were devoted to the Passions reflecting the symbolic meaning of the epilhaphios as the central object of the Liturgy. It is a characteristic nuance of the lime, Dutch collections of prints and, first of all, "Theatrum Biblicum hoc est Historiae Sacrae per Nicolaum Johanis Piscatorem" - very popular in Russia — served the iconographic source for the great majority of the Passions' compositions.

Stroganovs' manner of narrative embroidery highly influenced the objects that came from the workshop possessed by Ivan Guryev, a Moscow merchant, who, by the way, founded the city Guryev on the banks of the Yaik river together with his brothers. We know few creations of the workshop notable for their very rich embellishment. The whole of them, i. e. the set of liturgical covers — the aer "Entombment" and purificators "Behold the Lamb", "Our Lady of the Sign" -as well as the phelonion made of Italian velvet with its embroidered shoulder-piece, were kept at the ancient Monastery of St John the Theologian in Ryazan.

At the close of our brief survey we should stress the facl that the collection of the Ryazan narrative embroidery — even though consisting of either the firsl-class or significant objects - cannot reflect the consecutive order of development of this branch of arl from the late 15th to late 17th centuries, but, however that may be, without these pieces the objective picture of the Medieval Russian art cannot be completed.

An Icon as an Image

Icons cannot be referred to as works of art using the common meaning of the word. Icons are not paintings. Artists use lines and colour to represent people and events belonging to material life. Since the Renaissance, life and nature have been depicted in paintings by reproducing three-dimensional space on a plane; people, animals, landscapes and things. Even though the idea is taken from myths it is translated into the language of earthly images.

The Light in the Icon

If we speak about icons it is necessary to mention "the lightful Grace of Christ". An orthodox doctrine - isichasm - found expression in icon-painting. God is unknowable in His essence bui

enlightenment of people. This Divine Light was shown by Jesus Christ to His closest disciples on Mount Tabor in a comprehensive form.

Symbolism of Colors in Icons

An introductory discussion on the symbolism of colors in icons Byzantines considered that the meaning of art is beauty. They painted icons that shined with metallic gold and bright colors. In their art each color had its place and value. Colors - whether bright or dark -- were never mixed but always used pure. In Byzantium, color was considered to have the same substance as words, indeed each color had its own value and meaning. One or several colors combined together had the means to express ideas.

How Were the Icons Painted

Icon-painting in Old Russia was a sacred profession. On the one hand, conforming to the canon impoverished the creative process since the iconography of an image was strictly prescribed. But on the other hand it forced a painter to focus all his skill on the essence of his painting. Tradi­tions affected not only iconography but also materials, on which icons were painted, priming substances, methods of preparing surfaces for painting, dye making techniques, and painting se­quence. In Old Russia tempera, an egg-yolk dye, was used for icon-painting.

Iconostasis

The iconostasis is quite a solid screen stretching from the northern to the southern wall of a church, whereon icons are arranged in a predefined order. This screen divides the Altar from the church's middle part. There are three doors in the iconostasis. The central doors are called the Holy Doors. And a man who is not in a Holy order is not permitted to enter them. On the right side there are the southern doors, they are sometimes called Deacon's, and on the left side - the northern doors.

. It is through the aid of these terms that we look upon and appreciate the world's artistic masterpieces. We also know that the icon looks somewhat different from ordinary naturalistic art, although it conforms to the rules and principles of ordered composition and harmonious matching of colors. It should be men­tioned that the number of those who can distinguish an icon from among other forms of art continues to increase. Following the implosion of the Soviet Union, the popularity of icons increased greatly. It has been traditional for almost even' Catholic or Orthodox family to have an icon in their home. Additionally, even in the Protestant world there exists some interest in Byzantine iconography. The Icon as an Artistic Phenomenon

Even work of art manifests an organic unity. The understanding of beauty always goes hand in hand with such terms as harmony, order and aesthetics

Pondering the meaning of iconography, one is lead to consider its meaning and how it differs from other branches of art. Is it a distorted perspective or is it similar to the faum portrait? To answer this question we should turn our attention to the sources of iconography. It is important to understand that the icon was not created in a vacuum. Rather it arose out of and was preceded by an atmosphere in which Christianity was persecuted. In this spirit of prayer and persecution a new type of image was created that the Church would bear through her history, keeping its traditions and symbols.

In fact, iconography may be the only branch of art which, despite persecution, has sumved nearly two thousand years of history. Because of this, the history of the icon and the history of the Church go hand in hand.

& What is the role of the icon⁹ In its origin, the primary aim of the icon was to be a Holy Scripture to the illiterate. Christ came into this world both as the Word and as the Image. Essentially, this mission is common even today. Our children learn from pictures. When they are older, they can read. The icon precedes this and opens more essential theological and symbolic meanings which are hidden in the layers of paint.

Icons are an attempt to represent the invisible in a way that reminds us of the supernatural and concen­trates our attention on prayer and contemplation. Likewise, God very often speaks to our hearts through our eyes because the sense of sight is the most powerful of the human senses. This truth was recognized very early in the history of Christianity and was used as a means to make the Gospel better known, this being done long before the advent of the printing press.

The importance of graphic representation is evident in mural paintings, sculpture and stained glass from the medieval period. It is also evident in early iconography where the didactic purpose of some icons is obvious. However, the didactic purpose, where it appears, is always accompanied by the devotional as­pect, which is the true end.

V What features should guide the study of icons⁹ When we think about the icon it is important to keep three dimensions of this one reality in mind:

1. Academic knowledge

2. Artistic value

3. Theological vision

Should we neglect any one of these three dimensions we would deprive ourselves of understanding the full meaning of the icon. By neglecting the theological element, the icon becomes an historical monument or document which transmits valuable information about history or folklore, but as a result loses its soul. If we neglect the academic aspect, we condemn ourselves to a subjectivity that inhibits our ability to dis­tinguish between what is essential and what is secondary. By failing to make such distinctions we are in danger of altering the very transcendent Truth which the icon points to. To neglect the aesthetic element is obviously to misjudge the icon itself. In admitting that a religious subject requires first and foremost the use of the most advanced artistic techniques and talent in the execution of the work, we do not mean to say that all such works of art are in fact the expression of a culture at its highest point of development. So called "primitive"' art can also express a very profound idea.

Iconography as a Labor of Love At its root, the icon is a portrayal of Christ's image and its imprint on the world. He sees and loves us and He wants us to see Him. The icon helps us to open our range of spiritual vision and lead us to deeper con­templation, mystical contact with our Creator. This is the foundation of Christian pictorial art. Iconogra­phy is a labor of love. The iconographer prepares for his work with prayer, penance and fasting and this remains an essential part of his life while he is at work. In representing Christ or his holy mother, the ico­nographer must remain in close contact with them through prayer and contemplation. In speaking of sight, we should bear in mind that the way to pray before an icon is with eyes open. The eyes of an icon are always enlarged, while the mouth is correspondingly reduced, so that in prayer we can look more easily into the holy representation so that, in rare and privileged cases, the image can look back

at us. Because God loves us, He turns to us a visible face, a human face, a face of absolute beauty, to which we can express our own love. Rediscover}⁷ of Icons in the 20th Century⁷

The beauty of this art was amazing: luminous colors, unusual compositions, and a wise vision of the world

The life of an icon was no longer than a hundred years. Then the image on it grew dark because the dry­ing oil (olifa) applied as a varnish changed its color, and it got covered with soot from candles. Therefore, the image was constantly being renovated: New images were applied upon hardly visible outlines. In the twentieth century, when restoration techniques became more perfect, suddenly bright, pure colors showed through under the old layer of diving oil.

The world was astonished by Russian icons at the first exhibition of Old Russian Art, which took place in Moscow in 1913. There, for the first time, the restored masterpieces of Moscow and Novgorod schools of the fourteenth through sixteenth centuries were exhibited. The beauty of this newly discovered art was amazing: luminous bright colors, unusual compositions, and our ancestors* wise vision of the world. It was one of the most remarkable findings of the twentieth century⁷. Russian church painting appeared to the world as a unique phenomenon possessing enormous artistic value.

In the twentieth century, restorers mastered the art of exposing the old layers of painting, preserved under the layers of later paintings. The Mother of God of Vladimir of the twelfth century⁷ is one of those re­stored masterpieces.

The painting of this icon was discovered in 1918-1919. Restoration work was carried out by a group of specialists under the direction of A. Anisimov. Igor Grabar described the process of work over this icon: "It was our belief that all the elements of this or that epoch found on the artwork had to be carefully pre­served. That is why we only removed the layers concealing the older ones, scrupulously fixing the re­moved pieces. Thus, each epoch is precisely identified, revealing the entire history⁷ of the icon." Vladimir's icon of the Mother of God has a long and difficult history⁷. It was painted in Byzantium in the twelfth century. The canonical type of this icon was called in Byzantium Eleusa, which means "merciful." In Russia, Eleusa was translated to Umilenie, meaning "of tender feeling", which conveys very accurately the essence of the image. The Virgin Man⁷ is full of anxious tenderness towards her Son, who has His ami around her neck affectionately clinging to His Mother's cheek. The eyes of the Theotokos generate great pathos. She is looking directly at the person standing before her. There is infinite tenderness, infinite sadness and eternal question in her gaze.

How to meet this look? How to ascend to communicate with the Birth-Giver of God? Only through hu­mility and prayer. Such is a true icon.

This image of the Mother of God has no equal in the entire art world. The icon was brought in about 1136 to Kiev from Constantinople, and later, in 1155, was taken by Prince Andrew Bogolyubsky to the town of Vladimir. Hence, the icon's name derives from the name of the town. In 1395, it was brought to the Ca­thedral of Dormition in the Kremlin (Moscow), but soon was returned to Vladimir again. It got to Mos­cow for the second time in 1480, where it now can be seen in a chapel adjacent to the Tretyakov Gallery. The icon was restored four times: first, in the first half of the 13th century; at the beginning of the 15th century; then in 1514 and 1896. Only the faces of the Theotokos and infant Christ as well as His left hand belong to the old Byzantine painting of the twelfth century⁷. The rest was painted by Russian artists. It is believed that restoration work at the beginning of 15th century⁷ was done by Andrei Rublev.

There is no other subject in Christian iconography, exclusive of the Savior, that has been painted so often and with so much love, as the image of the Most Holy Theotokos. Iconographers of all times tried to im­part to the face of Theotokos as much beauty, gentleness, dignity and grandeur as they could imagine. Russian icons always show the Mother of God grieving. This grief is sometimes sorrowful, sometimes it is full of light, but it is always filled with wisdom and spiritual strength. The Theotokos, whether She re­veals her Son gloriously to the world, or tenderly clasps Him to herself, or simply forms a background, is always full of awe of her Divine Infant and humbled before the inevitability of His sacrifice. As befitted a married woman, the Most Pure Lady is always shown with her head covered with a veil, which drops to her shoulders, according to the tradition of Jewish women of that time. This veil or head covering is called "maphory" in Greek. The "maphory" is usually colored red (a symbol of suffering and a reminder of her royal roots). The lower portion of her clothing is blue, symbolizing the heavenly purity of the The­otokos, the most perfect of humans.

Another important piece of the Theotokos's attire are Her cuffs. Cuffs are part of the vestments of priests. When on icons, they symbolize the co-ministry⁷ of the Mother of God (and of the entire church in her per­son) to Christ, the High Priest. There are three golden stars on the forehead and shoulders of the Most Holy Theotokos. This kind of decoration was popular among women in those days. These stars on the icons of Theotokos are symbols of Her virginity: She was a virgin before, during, and after the Nativity of Christ. Besides this, the three stars are also a symbol of the Holy Trinity. Some of the icons show only two stars, while the third is covered by the figure of the Christ Child. The significance of this is the incar-